LIBRARY 


University  of  California 


Received  ^.^^.^^yT.       .  189^. 

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Principles  &  Methods 


IN 


Vital-Art  Education 


ILLUSTRATED    SUGGESTIONS 


TO 


ART  STUDENTS  &  TEACHERS 


[51I1.  Edition] 


By  Principal  John  Ward  Sfimson 

of  the  N.  Y.  Inst,  for  Artist-Artisans 
140  West  230  St.,  N.  Y.  C. 


&r 


a/  ^'7 


140  WEST   25D   STREET,    NEW    YORK, 


S'jnt 


AUTHOR'S    PREFACE, 


These  few  leaves  or  Summaries  of  Thought  are  the  quintessence  of  a  lifetime 
of  earnest  and  conscientious  study,  wide  travel,  and  long,  practical  experience  in 
professional  teaching  and  superintendence  over  many  departments  of  applied  Art. 

It  is  the  .OUTLFNE  of  a  Conviction— or  Inspiration— drawn  therefrom,  and 
based  upon  the  widest  and  sincerest  scientific  generalization  attained.  Its  sug- 
gestions, implications,  conclusions  must  be  left  to  posterity  and  to  Providence — 
but  the  record  of  their  already  far-reaching  helpfulness  and  upbuilding  among 
sincere  thinkers  and  workers,  by  whom  they  are  digested  and  applied,  is  a  private 
treasure  which  time  only  sanctifies. 

They  are  intentionally  left  in  the  condensed,  suggestive  form  of  Class-room 
and  Lecture  Synopsis,  that  they  may  the  more  broadly  reach,  incisively  stimulate 
and  effectively  unite  general  research  into  that  stupendous  FACT  of  DIVINE 
BEAUTY,  so  persistent  and  pervasive  a  Presence  and  a  Power,  a  Reality  and  a 
Revelation,  around  us  !  And  that  they  may  show  to  the  mind  that  Vitalizing 
SPIRIT  is  more  essential  than  its  varying  forms  ;  and  eternal  PRINCIPLES  more 
pregnant  and  precious  than  their  infinite  examples.  It  desires  to  supplement,  not 
supplant,  all  sincere  preceding  work,  and  to  enhance  and  illuminate  the  otherwise 
too  frequently  chaotic  collections  of  illustrations  in  museums  and  libraries,  to 
which,  with  those  of  nature,  we  are  gratefully  indebted. 

JOHN  WARD  STIMSON. 


"  One  thing  have  I  asked  of  THE  LORD  that  will  I  seek  after  : 

To  behold  THE  BEAUTY  of  THE  LORD  and  to  inquire  in  His  Temple." 

"  The  BEAUTY  of  THE  LORD  be  upon  us— The  work  of  our  HANDS  Establish  THOU  it." 

"  Theji  shall  SEE  to  whom  no  tidings  of  Him  came, 
And  they  who  have  not  heard  shall  UNDERSTAND." 

"  THOU  flllest  the  immensity  of  space  with  THY  PRESENCE." 

—(Bible.) 
These  MOTIONS,  everywhere  in  Nature,  must  surely  be  THE  CIRCULATIONS  OF  GOD." 

— (H.   D.  Thoreau  ) 


INTRODUCTION. 

BEAUTY  is  a  very  different  thing  from  ART,  or  even  from  Individuality  and  Character  in  Art. 

All  creative  fashioning  is  "  Art  "  (either  in  the  lower  or  higher  significance  of  the  word),  and  that  construction  or  combination  of  forms,  colors, 
sounds,  dramatic  actions,  etc.,  which  conveys  to  other  spirits  a  conception  of  an  artist's  imagination,  may  easily  convey  his  "  individuality  "  (so 
that  we  recognize  him  in  his  work)  or  may  so  admirably  express  the  organic  social  conditions  (from  which  he  and  his  work  comes)  as  to  give 
great  "  character  "  to  his  art,  yet  without  really  giving  BEAUTY. 

Thus  a  Chinese  monster  in  bronze,  a  grotesque  Japanese  dragon,  an  Aztec  idol,  a  Polynesian  war  club  may  be  crowded  with  artistic 
individuality,  and  even  with  the  significant  character  of  the  age  or  civilization  producing  it,  without  at  all  producing  BEAUTY.  So  The  Divine 
Artist  of  nature  has  designed  (with  quite  equal  "  Art"  skill,  but  not  at  all  similar  intentions  toward  Beauty),  both  the  loathsome  toad  and  the 
exquisite  humming-bird.     Indeed  the  former  seems  to  contrast  and  set  off  the  latter. 

If  we  remember  one  all-important  revelation  of  the  science  of  this  century,  viz.,  that  "all  visible  substances  are  composed  of  separate 
atoms,  which  never  touch  each  other,  but  are  held  in  variable  relations  (numeric,  quantitative,  qualitative,  distributive)  by  a  Spiritual  Force  which 
is  ever  the  same  (though  differently  named  in  different  manifestations),  and  that  It  reveals  to  the  mind  and  heart  of  man  Its  own  intellectual  and 
emotional  character  by  means  of  these  very  "  relations  of  atoms,"  we  see  that  the  all-important  service' of  a  true  art  teacher  is  not  to  make  mere 
technical  experts  in  technical  recipes  and  for  external  mimicries,  nor  to  make  foreign  mannerists  of  students  to  speculate  in  fads,  poses,  fashions; 
but  rather  to  free  students  souls  from  this  very  slavery  and  degradation  by  revealing  to  them  those  wonderful  internal  and  Spiritual  "  Relations  " 
which  constitute  BEAUTY  above  mere  "  Art  "  alone.  In  short,  to  stimulate  their  own  creative  imaginations  to  see  and  re-express  for  themselves 
and  their  country  the  vital  secrets  of  Essential  Beauty  in  bird-of-paradise  or  lily-of-the-valley  over  essential  ugliness  in  dragon  and  toad.  These 
principles  and  laws  are  universal  and  just  as  present  and  important  for  America  as  for  Europe,  and  of  course  they  are  more  appropriately  and 
organically  expressed  in  each  country,  in  direct  connection  with  that  country's  own  climatic  and  social  conditions. 

Thus  BEAUTY  in  Japan  has  ever  the  delightful  subordinate  flavor  of  the  Japanese  life.  And  BEAUTY  in  Greece  had  similarly  the  flavor 
of  Greek  taste  and  qualifying  local  sentiment,  without  destroying  the  cosmic  overruling  laws  perceived.  Ugliness  also  can  have  its  own 
conditions  and  be  qualified  by  local  color,  as  ugliness  Greek  or  ugliness  Roman,  etc. 

Never  was  there  a  greater  mistake  than  that  either  beauty  or  ugliness  is  "skin  deep,"  or  that  "there  is  no  disputing  about  taste."  The 
elements  and  principles  that  constitute  both  beauty  and  good  taste  are  eternal  and  universal,  in  spite  of  those  lighter  and  superficial  qualifications 
that  give  them  individual  or  national  "flavor,"  just  as  we  detect  the  divine  beauty  of  any  noble  woman  (which  calls  for  universal  admiration), 
even  when  it  is  allied  with  racial  traits  proclaiming  her  Greek,  Italian,  French  or  other. 

It  is  of  supreme  importance  that  these  supreme  PRINCIPLES  be  known  and  vitally  assimilated  by  every  nation,  that  each  may  keep  free 
and  characteristic  while  obeying  universal  law.  We  readily  recognize  the  pregnancy  of  this  truth  in  other  departments  of  education  than  our  art 
education. 

Thus  the  education  of  our  youth  in  scientific  or  political  or  moral  lines  of  public  service  is  not  conducted  (by  the  best  instructors)  in  such 
a  way  as  to  make  them  merely  "technically  expert,"  or  mere  mimics  of  foreign  situations,  but  rather  in  such  basic  principles  of  science,  states- 
manship or  morals,  as  to  enable  students  freely  and  forcibly  to  meet  every  new  problem  therein,  for  themselves  and  for  their  business  or  country. 

So  our  West  Point  cadet  or  Naval  Academy  aspirant  would  not  be  crammed  with  technical  data  as  to  Caesar's  camp  kits.  Napoleon's 
accoutrements,  or  even  the  naval  architecture  of  Nelson  (as  though  such  implements  or  incidents  were  ever  to  be  duplicated),  but  rather  grounded 
in  those  military  and  naval  Principles  by  which — under  wholly  different  conditions  of  climate,  country  and  equipment— similar  results  might  yet 
be  obtained,  and  thus  be  created  a  wholly  new  Washington,  Grant,  Lee,  Farragut,  etc.  Nothing  is  more  evident  than  that  to  obtain  such  vital 
independence  and  personal  power  for  our  national  art  as  for  our  national  science,  economics,  ethics,  etc.,  we  must  abandon  the  shallow,  servile 
or  mechanical  methods,  leaders  and  schools,  (however  pompous)  which  have  so  long  betrayed  American  genius  for  foreign  mimicries,  fads  and 
affectations,  and  begin,  at  once,  along  newer  and  more  vital  lines,  with  deeper,  broader,  more  vitally  inspiring  leadership  to  study,  assimilate  and 
readapt  (to  our  own  nationality),  those  secret  but  Sublime  Laws  and  Universal  Esthetic  Principles  which  constitute  forever  the  subtle  charm  in  the 
art  of  nature  and  history,  yet  which  forever  allow  for  the  local  flavor  of  soil  and  climate,  with  individual  and  social  conditions, 


1st 

2d 

3d 
4th 


SUBJECTS  OF  STUDY. 
OPIRI'T  of  Nature      -      (in  which  she  acts.) 


1  h  A  /y' J, 

OF  THK 

JNIVERSITY 


AS 


Principles  of  Nature         ( 
Laws  of  Nature    -      (by 


Methods  of  Nature 


( 


MANIFESTS.) 

LIMITS  Her  Esthetic  Actioh./ 

EMPLOYS  IN  Her  "  "      ) 


\ 


Originality. 

Individuality. 
Freshness-in-FainUiarity. 
SinipUcity-in-Complexity. 
Varietj'  in  Equipoise  and  Unity. 
Spirituality,  Ideality,  Poetry. 
Mystery,  Suggestiveness.  Promise. 
Aspiration,   Inspiration,   Self- Revela- 
tion. 


Vitality,  Energy,  Daring,  Sublimity. 

Restfulness,  Stability,  Serenity,  Self- 
Respect. 

Care,  Temperance,  Freedom-Wise. 

Patience,  Endurance,  Ruggedness, 
Discipline. 

Truth,  Frankness,  Openness. 

Scope,  Universality,  Generosity,  Rich- 
ness. 

Fullness,  Completeness,  Finish. 

Taste,  Refinement,  Purity. 

Delicacy,  Grace,  Charm. 

Joy,  Play,  Sparkle,  Brilliancy. 
Felicity,  Facility,  Fertility,  Variety. 
Immortality,  Goodwill,  Furtherance. 
Sympathy,  Beauty,  Perfection. 


Fkr-ception.  In-sight. 

Purpose,  Forethought,  Plan  Arrange- 
ment. 

Conservation,  Transmission,  Progres- 
sion. 

Unity,  Order,  Regularity. 

Equality,  Equipoise  or  Balance. 

Dominance,  Subordination, Co-ordina- 
tion. 

Selection,  Rejection,  Control. 

Emphasis,  Proportion,  Symmetry. 

Gradation,  Crescendo,  Cadence. 

Harmony,  Co-operation,  Accommoda- 
tion. 

Discretion,  Propriety,  Fitness. 
Consistency.  Adaptation. 

Conformity.  Flexibility. 

Congruity.  Sensitiveness. 

Reasonableness,  Naturalness,  Whole- 

someness. 
Wisdom,  Utility,  Efficiency,  Economy. 
Sincerity,  Genuineness,  Honesty. 
Clarity.  Decision,  Definiteness. 

Embellishment,  Fascination. 
Fruition,  Achievment. 

Sustained  Pleasure, 


IJMITATION  AND  CONDITION 


Space, 

Length. 
Breadth. 
Thickness. 


Sequence. 


Force— 


"Pulsion. 


E  "  ergy — Vol  itio  n . 
Static. 
"Dynamic. 
Tendency— Action 

and  Reaction. 
Pulsation— Rhythm . 


Motion — Centri 


iugal. 
petal. 


Opposition. 

Directness. 

Tension. 

Angularity. 

Contrast. 

Repetition. 

Competition. 

Continuity. 

Equilibrium. 

Extension. 

Co-operation. 

Progression 

Co-ordination 

Procession. 

Organization. 

Revolution. 

Growth. 

Evolution. 

Persistence. 

Expansion. 

Reproduction , 

Dispersion. 

Recoustruct'u 

Straight. 

Oblique. 

Rectangular. 

Parallel. 

Curved. 

Undulate. 

Circular. 

Cylindric. 

Conic. 

Ovate. 

Elliptical. 

Parabolic. 

Hyperbolic. 

Spiral. 

Tangential. 

Radial,  etc. 


FORMULAE.— FORM. 

Structure— Function. 
System— Skill. 


Relation.— ScALE-RiTio. 


Transformation 


In-tegration. 

Dis-intcgration. 
Re-integration. 


Numeric. 
Quantitative. 
Metric,  Geometric. 

Distributive. 

Formal. 

Dynamic. 

Structural. 

F^unctional. 

Vital. 

Intellectual. 

Emotional. 


5th        Spirit  of  History.  its   limitations.  methods  and  styles.        character. 


AS 


Repetition. 

Mechanicalizing. 

Parallelism. 

Conventionalizing. 

Series  {  I;;"^^^- 
(  Plane. 

Literalizing. 

Individualizing. 

Reflection. 

Generalizing. 

Contrast. 

Symbolizing. 

Alternation. 

Idealizing. 

Counterchange. 

(  -scribing. 

Juncture. 

Trans-  -j  -lating. 

Overlapping. 

(.  -muting. 

Interlacing. 

Linking,  Looping. 

Cabeling. 

Strapping. 

Interpenetration. 

Fusion,  etc. 

Media, 
suggestiveness. 


6th     Spirit  of  the  Present. 

Its  Limitations,    Mp;thods,   Styles,    Character. 

"     Media. 

"      SUGGESTIVENESS. 

7th 


spirit  of  Special  Technical  Media,    character,      limitations. 

SUGGESTIVENESS — 

Laws  of  LIGHT  and  COLOR. 


Processes. 


Limitations— optical. 


EVOLUTION    IN    ART. 


Eurit^i   TRorad'iow  syw-^it^. 
!      "^    ^l""^/— '»«>>«,[„    *i).fJ^ 


Nature's  Triune  Manifestation. 


1ST.     Abstract  Truth  in  Spiritual  Ideals,  Relations  and  Volitions. 

2ND.     Concrete  Good  in  progressive,  transitional,  material  Embodiments. 

}RD.     Eternal  Beauty  in  Perfected  Purposes  and  Revealed  Vital  Principles. 


MYSTERY  & 
UNIVERSALITY 


1st  LESSON-CHART. 


ATTRACTION— TO 


RHPT'LSION-FROM 


Intangible 

Immaterial 

SPIRIT 

Emotion— Imagination 

y- 

Mind— Reason. 

V      _ 

Tanjfible 

Material 

BODY 

Mattkr — Sensrs. 

Nehd  to  Fked 


3 

Heart 

2 

Minu 

I 

Body 

Man 


Animau 


Beautiful — Art 


Good — Religion 


True — Science 


Man  excels  Beas'i. 


Beast  excels  Man. 


Harmony  of  Ali» 


Survival  of  Best 


SHOW-That  cver}-\vhere  about  us  is  LIFE.     Its  MvsTERV  and  UNIVERSALITY  invite  to  study. 

By  terrestrial  limitation  Man  is  unable  to  know  All,  but  entitled  to  know  and  use  All  He  Can. 

Hence  the  student  should  approach  the  subject  with  both  Modesty  and  Courage,  and  retain  both  these  and  MYSTERY  a.s 
elements  of  artistic  charm.     The  Soul  of  Man  reflecting  and  responding  to  the  Soul  of  Nature. 
'    LIFE  is  the  main  source  of  interest — in  ourselves  and  our  work. 

Distinguish  between  Quantity  of  Life  (which  generally  decides  its  Passing  Interest  and  Individuality) 
and  Quality     "     "     (     "  "  "        "   Permanent  Intere.st  and  Beauty). 

We  are  irresistibly  drawn  to  and  fascinated  by  LiFE — in  Man  and  his  Works. 

"     "        "  repelled  from  its  opposite — Death — "        "      "        " 

Our  Art,  then,  must  pre-eminently  possess  the  quality  of  Life — genuine,  organic,  individual,  interesting 

(not  sterile,  imitative,  mechanical,  perfunctory), 

And 


be  refined  and  ennobled  by  " 


Beauty — (which  comes  from  assimilated  Principles). 


SHOVr  —The  fact  that,  scientifically,  nothing  comes  from  Nothing — something  always  from  Something. 

That  we  can  therefore  logically  reason  back  from  Mind  and  Heart  (Intellect  and  Emotion)  in  Man 

to  "~^^        "         "  "  ~'  "  God. 

That  (in  our  ignorance  of  what  matter  is)  there  may  be  an  analogous  Body— perhaps  found  in  Nature  or  Cosmos 

("There  is,"  says  Holy  Writ,  "  a  terrestrial  and  a  celestial    "      —the  glory  different.") 
That  Life  about  us  can  be  divided  into — 

I.     The      tangible,       material,  physical  Body- 

2. 


intangible,  immaterial,  spiritual  Soul- 


(which    we    touch,   handle  and    weigh.) 
"  wecanaot,"  "         nor       "  butl 

"    "  can  appreciate  spiritually 
"    "      "    assimilate  and  reflect  in  work. 


That  SotJl,  communicates  with  Soul  through 


Senses 


of 


Sight, 

Hearing, 

Scent, 

Taste, 

Touch. 


Whose  bodily  organs  convey  impressions 
from  the  outer  world  by  means  of  vibrations 
or  communicated  Force. 


The  Soul  receives  and  judges  upon  the  motion,  measure,  intensity,  arrangement  and  significance  of  these  Impressions. 

(As  a  blind  musician      "  "       "         "  "  "  "  "  "  of  another's  harp.) 

That  a  variety  of     agreeable  or  disagreeable  (physical,  intellectual  and  emotional)  Impressions  are  thus  transmitted. 
Such  as  j- harmony    "   discord, 


\  gentleness  "    harshness, 
I  sweetness   "   pungency. 


etc. 


That  beauty,  delight,  good  judgment,  good  taste,  etc.,  may  be  conveyed  through  all  the  senses,  but  the  highest  sense  is 
Sight— the  one  man  is  last  willing  to  lose.     By  it  is  established  the  one  Universal  Language,  which  in  optical 
art  makes  all  nations  akin,  and  all  mutually  intelligible.    Japanese,  Italian,  French,  German  or  English  under- 
standing each  other's  art  language  when  utterly  incapable  of  comprehending  each  other's  linguistics. 
The  Artist  is  the  Soul  which  manifests  Beauty  by  any  of  these  senses.     But  the  highest  artist  is  he  who  works  in  the  highest 
ways  through  the  highest  senses. 


SHOW — That  in  mere  power  of  organs  the  animals  far  excel  man- 


f  The  hawk  outsees  Michael  Angelo,  ■> 
\  The  hare  outhears  Beethoven,  etc.    / 
But  in  the  subtler  power  of  soul  perception,  behind  the  senses,  man  far  excels  the  animals. 
The  hawk  sees— the  artist  per-ceives. 
The  Soul  may  be  broadly  divided  into  the  Intellectual  Realm  of  REASON, 

and 


Emotional 


Spiritual  FEELINGS  and  SUSCEPTIBILITIES. 


That  food  and  cultivation  for  these  is  more  important  than  food  for  bodily  functions,  for  the  first  are  the  main  concern  of  intel- 
ligent and  spiritual  beings,  while  the  latter  are  the  chief  concern  of  the  brutes. 

That  Volition  is  the  highe.st  responsibility  of  free  Souls,  by  which  some  choose  io  pursue  .special  research.  Scientifically  for 
the  True,  ethically  for  the  Good,  esthetically  for  the  Beautiful.     Though  "These  Three  Agree  in  One." 


LESSON  ll.-OHART  2. 

I, IMITATION.         RRLATIVITY.         APPROPRIATENESS  TO  .SPHERE.  SELECTION. 


The  "ARTIST"  selects   A   SENSE   CHANNEL, 
through  which  to  study  and  to  express 


3 

2 

Emotionai, 

> 

W 
n 

Aeter 

tr. 
n 

a 

0 
O 

r 

Self 

5 
O 

3 

BEAUTY 

Intellectual 

During 

Teacher 

IN 

I 

Material 

Before 

Nature 

TREE  OF  LIFE.        Cosmic.      National.      Artistic. 
Germ.      Vital  Force.      Plan.      Method. 


"  i.st,  The  BLADE.     2d,  The  EAR.      3d,  The  FULL  CORN." 


iSHOW — That  as  Earth  is  but  a  limited  part  of  cosmos,  not  only  is  Limitation  a  part  of  it  and  of  mind,  but  a  characteristic  of  human  work. 
That  the  attitude  of  the  artist  must  immediately  be  that  of  Interpreter,  not  Imitator,  of  Nature.  That  as  She  is  so 
transcendently  his  superior,  all  his  best  attainments  must  be  but  relative,  and  that  they  are  best  when  frankly  relative; 
suggestive  merely,  and  appropriated  to  conditions.  Make  clear  the  impossibility  of  painting  each  leaf  or  grass  blade.  The 
beauty  of  SUGGESTION.  How  the  instant  this  true  attitude  is  taken,  nature  gives  us  all  her  best— her  Spirit. 
The  nobility  of  our  SELECTION  and  INTERPRETATION  will  decide  the  nobility  of  ourselves  and  work. 


SHOW — ThatofallSEEKER.s,  the  "Art"Student  has  selected  to  study  the  Artist — his  r  Realms, 

I  Ideals, 


"  "  Seeking,  "  Artist 

"  "  Artists,    "    Optical   " 


((        ((      (( 


((      <( 


BEAUTY. 


Conditions, 
Relations,  Etc. 


Co: 

I  Re 


express 


:  } 


through  the  channel  of  The  Eye. 


SHOW — ^That  Beauty  will  necessarily  have  a 


Emotional 

3 

iNTELLEc-rUAL 

2 

Material 

I 

Aspect,    rising   relatively  as  Life  Force   evolves  and  advances  to 
higher  expression. 


Thus,  the  grain  of  the  rosewood  or  mahogany  Body  to  our  piano  contains  such  attractive  records  of  the  life  progress  of 
Nature  in  its  fibres,  such  clear  revelation  of  her  way  of  working,  moving,  feeling  in  early  vegetable  realm,  that 
we  polish  it  and  call  it  "Beauty-full."  Then  the  interior  mechanism  of  the  Piano,  its  chords,  keys  and 
attachments,  may  be  so  intelligently  formed,  measured,  arranged,  that  we  perceive  the  plan,  order,  proportion, 
adjustment,  and  call  it  "Beautiful "  again.  Lastly,  the  musician  sits  down  to  it,  awakens  the  chords,  pours 
out  through  its  agency  his  sentiments  and  inspiration,  and  we  reach  Emotional  Beauty. 


"   Intellectual 


3HOW — That  the  Material  aspects  of  Beauty  are  generally  acquired  by  us  directly  from  nature  during  the  long  years  of  childhood  before 

coining  to  the  Art  School. 
"  are  to  be  acquired  more  properly  during  school  from  the  teacher,  who  himself  has  had  to  be 
taught  them,  and  so  conveys  onward  the  technical  traditions,  experiments  and  discoveries  of  the 
preceding  centuries — in  his  special  profession— and  that  this  is  the  true  service  of  an  art  school 
and  art  teacher.  It  is  not  a  studio,  nor  should  the  student's  personality  be  swamped  by  the 
teacher's. 
"  should  be  largely  developed  by  the  student's  own  self,  independently,  after  the  art  school  era, 
and  as  in  the  case  of  his  own  affections,  aspirations  and  ideals,  should  be  the  free  choice  of  his- 
own  will,  the  expression  of  his  own  spontaneous  spirit  and  individuality.  Thus,  alone,  it  will 
have  flavor,  freshness  and  rvevelation. 


"  Emotional    " 


fHO'  V— The  mystery  that,  while  the  minutest  germ  contains  the  entire  intellectual  and  emotional  forniute  which  are  to  express  the  distinct 
individuality,  sentiment  and  beauty  of  every  rose,  lily,  etc.,  yet  there  is  a  carefully  observed  principle  of  Order  and  Sequence 
in  these  stages  of  manifestation,  from  lower  to  higher.  A nd  this  is  as  true  for  the  race,  nation  and  individual.  That,  as 
Christ  averred,  "the  kingdom  of  heaven  (and  hence  terrestrial  civilization)  i^  as  a  germ  planted  and  springing  up  by  the 
special  steps  of— 1st,  the  (supporting  or  structural)  '  Blade  ;'  then  the  (carefully  distributed  and  .sheltering)  '  Ear  :'  then,  at 
last,  'the  Full  Corn,'  "  so  is  it  with  all  wholesome  life  »r.d  life  work.  That  optical  Art  is  one  of  the  most  irterestiug  of 
civilization's  branches,  and  has  itself  many  twigs  or  '.icioi-s. 


LESSON  lll.-CHART  3. 


THE  ART  TKACHRR 


Guides  and  Cultivates  thu  Skxtimknts 


DKVELOPES  the    lNTEM,iaENCE    AND   REASON 


RivvivES  Memory,  Quickens  Observation 


TRUTH 


DIVINE 


ABSTRACT 


OF  THE  Student,  into  the 


3 

Bkautikui„ 

2 

Good. 

I 

True. 

3 

BEAUTY;  Human,  Ideal. 

2 

GOOD;  Natural,  Concrete. 

I 

TRUTH  ;  Divine  and  Abstract. 

SHOW— That  the  legitimate  work  of  the  true  Art  Teacher  is 

1st.  To  Revive  the  Memory  and  quicken  Observation  of  tlie  Art  Student,  so  as  to  secure  data  and  a  physical  basis  in  the 
Student  for 

2d.  The  development  of  his  or  her  Intelligence  and  Reason  in  Aesthetics,  and 

3d.  To  Guide  and  Cultivate  his  or  her  finer  Sensibilities  and  Sentiments  along  the  line  of  the  True,  the  Good  and  the 
Beautiful,  which  are  but  phases  and  manifestations  of  the  Same  Divine  Life. 

SHOW— That  Abstract  Truths  are  the  germs  and  cause  of  the  Good  and  the  Beautiful,  and  should  be  clearly  understood  and  exemplified 
at  the  commencement  of  school  work. 

That  "  the  things  which  are  seen  are  temporal,  but  the  things  unseen  "  (yet/^n:eived)  "  are  eternal."  Schools,  teachers, 
manifestations,  earth  herself  changes,  but  Divine  Principles  never  change  in  essence,  though  they  are  infinitely  varied 
in  their  applications. 

That  the  whole  course  of  Nature  is  a  steady  Revelation  of  Divine  Principles,  in  all  phases  of  life.  The  germ  of  every 
flower,  for  instance,  contains  in  its  infinitesimal  bosom  an  abstract  plan  from  the  great  creator.  His  Intelligence, 
Purpose,  and  even  Sentiment  is  there  hidden,  ready  to  be  revealed  when  the  proper  chemic  principles  have  been  com- 
bined with  the  Aesthetic  Principles.  The  Life  will  then  proceed  forward,  take  up  the  numeric,  metric,  formal,  and 
distributive  Beauties,  together  with  the  peculiar  Individuality  Character  and  Poetic  Sentiment  of  every  flower  or  bird. 


That  while  the  observance  of  chemic  and  mechanic  principles  may  conduct  forward  and  distribute  force,  and  life  be  given 
alike  to  wolf  or  lamb,  to  evil  or  good,  yet  the  observance  in  the  Life 

of  Scientific  and  logical  principles,  alone  constitute  Reason—     "  " 

"  Ethic  principles  "  "  Good—         "  " 

"  Aesthetic  principles  "  "  Beauty — 


((       (( 


((     it      (( 


SHOW — That  the  Soul  must  look  within  itself  for  those  deep,  divine,  but  abstract  Principles  of  Truth  healthfully  suggested  by  divine 
intuition  and  inspiration,  approved  by  sound  Reason  and  Logic,  recorded  as  Science,  and  committed  to  the  care  of  sensitive 
Conscience. 

That  the  Soul  must  look  to  the  wholesome  and  sheltering  provisions  of  a  kind  Nature  (as  the  expression  of  a  mysterious 
but  protective  Providence)  for  Concrete  Good,  and  to  Ethic  Principles  in  Reason  and  Conscience  for  Moral  Good. 


That  the  Soul  looks  to  the  long  efforts  of  Human  Nature  to  discover  and  embody  latent  Principles  of  Beautv  revealed  in 
the  creative  Father's  work,  for  Aesthetic  Ideals  and  Metliods,  amply  demonstrated  by  His  work  in  Nature,  and  by 
man's  best  work  in  Historic  Art. 


IV.-SUBJECTS  OF  STUDY. 


SHOW 


SHOW 


SHOW 


How  out  of  the  Mystery  of  Life  that  surrounds  human  Spixit  on  its  b2ing  ushered  into  terrestrial  conditions,  probably 
the  first  state  it  recognizes  is  Consciousness,  extending  throughout  the  Body  as  Identity,  and  then  to  Self  as 
iNDivinuALiTY  (distinct  from  others,  though  related).  From  this  in  later  years  it  may  rise  to  consciousness  ofOwiGiNAl, 
Being  and  God.  That  thus  all  art  creators  and  creations  are  entitled  to  (and  should  possess)  that  supreme  quality  next 
to  Organic  Vitality,  of  Identity  (throughout  itself)  ; 

and    "  Individuality  (in  itself,  distinct  from  other  workers  and  work)  ; 
and  as  far  as  possible  OriginauTy  (to  person,  time,  place,  etc.). 

That  as  the  Spirit  of  Man  becomes  impressed  by  Power,  and  conscious  of  Power,  and  (through  the  infinity  of  efforts 
within  and  around  it)  detects  (i)  Cause,  (2)  Agency,  (3)  Effect  out  of  original  Motive,  so  the  Artist  and  his  Art 
must  show  (i)  An  original  Motive  ("motif ")  as  Cause  ; 

(2)  The  choice  of  appropriate  AGENTS  to  attain  ; 

(3)  Sufficient  and  satisfactory  Esthetic  Effects. 

That  as  the  SouL  becomes  impressed  with  Time  conditions  in  Past,  Present,  Future  (as  distinct  from  Eternity), 
and    as     the  Great  Creator  works  terrestrially  by  the  fundamental  Principles  of 

Selection   1    so  these  essentials  in  Volition  and  Order  of  Procedure 


and  Sequence     1    must  be  contained  in  the  works  of  human  Art. 
For,  as  the  poet  Milton  puts  it:     "There  is   a   Scale  of  duties,   which   for  the   want   of  studying  in   the   Right   Order 
all  the  world  is  in  confusion." 

That  as  every  life  reveals  Spirit  and  Motive,  moving  out  by  Order  and  Selection  from  the  mysterious  and 
abstract  LIFE  back  of  Nature  (in  the  Past)  through  the  concrete  but  ever  transitional  forms  (of  the  Present)  to  some 
equally  wonderful  Purpose  and  Revelation  (in  the  Future),  so  the  Art  student  should  not  only  search  for  and  acquaint 
himself  with  the  abstract  iesthetic  Truths  and  Motives  contained  in  the  Past,  but  watch  and  adapt  himself  to  the 
cesthetic  Needs,  Conditions  and  Forms  of  the  Present ;  and  so  transmit  them  to  (and  even  forecast)  the  marvels  of  the 
Future.  More  than  this — for  the  best  growth — he  should  educate  himself  according  to  this  Sequence  and  by  these 
stages  or  steps  of  Nature.  Obtaining  (as  every  living  plant  does)  the  Abstract  Realities  (that,  though  invisible  at  first 
to  sense,  are  perceptible  to  In-sight) ;  acquaint  himself  with  the  Beauties  discoverable  in  abstract  Number,  Quantity,  Mag- 
nitude, Motion,  Direction  and  Relations  of  the  same.  The  Formul.*,  Type  Forms  and  Functions  which  are  afterwards.' 
visibly  manifested  and  embodied  in  every  flower  or  bird,  the  better  to  understand  and  ultimately  express  their  full  significance 
and  character.  Each  Art  Education  and  Art  Creation  should,  like  a  building,  have  its  deep  though  hidden  foundation 
and  inner  Construction,  before  its  outer  or  more  optically  manifest  Forms  (which  are  overlaid).  The  Japanese  greatly  delight 
in,  and  extract  great  beauty  from,  these  abstract  relations  of  Number  and  Geometry  ;  and,  indeed,  in  ail  past  Arts  and 
ages  they  have  been  held  sacred  and  symbolic.  It  has  resulted  that  from  among  them  have  been  selected  certain  abstract 
"Type"  Forms  and  "  Type"  Relations  which,  to  thoughtful  and  philosophic  artists,  become  pre-eminently  wonderful  and 
suggestive  as  the  standards  from  which  all  others  are  derived.  (Of  these  we  will  give  ramples  later.)  Everj-  true  work  of  Art, 
iike  a  true  growth  of  nature,  should  manifest  in'  itself,  when  co:npleted,  a  combined  Power  and  Beauty  resulting  from 
the  organic  union  in  itself  of  Truths  that  are  abstract  traditional  and  preparatory:  I  hen  others  that  are  concrete  but 
mediate  ;  and  finally  others  that  are  idealistic,  suggestive  and  spiritual. 


•  •  •  •   ♦■  V  r  .  f 


*  * 


■*  -^ 


♦  -♦<,♦■*: 


'^^  *  *    •   ^t    • 


•* 


ft 


-7^^ 


il- 


* 


(X     ->fi^- >*?■>!!:- 


O    O 


A  A 


Lesson  v.— Chart  5. 

SHOW— That  man  learns  to  recognize,  that  if  his  race  and  the  earth  he  inhabits  were  er.gulied  in  some  sun 
vortex,  still  there  would  exist  throughout  heaven  the  same  eternal  conditions  and  properties  of 
NuMBKR,  Quantity,  Space,  Position,  Motion*  and  even  Matter — responding  to  the  Spirit's 
questions,  "How  many?"  "  How  much?"  "How  large?"  "Where?"  "  Whence  and  whither?"  with 
even  the  added  qviery  "  What?"  ;  and  that,  as  the  Human  Spirit  is  part  of  Universal  Spirit,  its 
operations— physical,  intellectual  or  emotional  (hence  aesthetic) — must  be  conditioned  by  the  above, 
and  take  cognizance  of  them. 

That  Chaos  or  Confusion  is  abhorrent  and  even  painful  to  the  Soul,  the  wild  forest  being  from  earliest 
days  a  symbol  of  horror,  and  the  studded  vault  of  stars  shot  with  irregular  meteors  being  a 
source  of  terror  and  irrational  fetich,  till  intelligence  progresses  sufficiently  to  detect  and  so  gain 
peace  from  Order  and  Regularity.     (Each  growing  child  renews  this  experience.) 

SHOW— How  the  Soul  finds  in  Unity  the  sense  of  Repose,  Simplicity,  Strength,  Concentration.  That  by  a 
necessity  of  its  being,  it  will  seek  and  should  find  in  Unity,  Rest  from  confusion  of  interest  But 
(by  a  similar  law  which  balances  life  and  happiness  between  Rest  and  Action),  the  Soul  will  suffer 
from  a  sense  of  monotony  or  bleakness,  if  Unity  is  too  long  and  strongly  forced.  The  Soul  will 
then  find  its  way  back  through  Duality  to  Multiplicity  (or  Variety),  and  so  back  again  to 
Unity,  till  it  obtains  Variety  in  Balance. and  Unity. 

How  the  Savage,  ignorant  of  astronomy,  while  gazing  at  the  chaos  of  yellow  star-points  in  the  blue 
sky,  might  become  conscious  not  only  of  Time  Unity  in  their  Existence  and  Interest;  Space 
Unity  of  the  blue  plane  in  which  (apparently)  they  stood;  then  of  Unities  in  Magnitudes, 
Distances,  Relations  (as  in  Constellations);  in  Inclinations  and  Directions  (as  where  the 
"  Pointers"  of  the  Dipper  point  toward  the  Pole  Star);  or  Unity  in  Motion  (as  where  nightly  the 
Dipper  circles  around  the  Pole  Star) ;  and  by  extending  the  comparison  to  Earth,  find  Unities  in 
circular,  elliptic  or  crescent  Forms ;  blue,  roseate  or  yellow  Colors ;  and,  at  length,  Earth's  own 
Unities  of  Substance,  Texture,  Function,  Character,  Sentiment,  etc.;  and  at  last  the  vaster 
Unity  of  Divine  Laws  and  Design.  He  might  even  see,  in  the  sky  itself,  that  beautiful 
..Esthetic  Principle  (above  referred  to,  and  so  often  revealed  in  Nature),  of  Domina>it  Unity, 
"  Repose,  Simplicity,  Strength,"  concentrated  in  the  controlling  Sun,  carried  over  to  and  balanced 
by  the  subordinate  Duality  and  Contrast  in  the  Moon,  then  dispersed  through  the  well-propor- 
tioned Variety  of  the  Stars. 

SHOW — How  Duality,  while  it  awakens  new  Interest,  divides  the  Interest,  the  mind  and  eye  flying  back  and 
forth  between  them.  Yet,  if  the  Element  of  Unity  is  retained  in  them  (as  by  common  magnitude, 
direction,  motion,  plane,  color,  form,  character,  sentiment,  etc.),  then  the  eye  and  mind  find 
increased  interest,  and  the  aesthetic  value  of  the  unit  is  fortified.  Thus,  a  face  is  far  more 
beautiful  for  two  eyes  than  one,  even  if  that  one  were  in  the  middle  of  the  forehead,  and  equal  in 
magnitude  to  both  combined.  And  so  two  gate  posts  or  two  door  columns,  bound  by  the  Unity  of 
the  lintel,  arch  or  capstone,  lose  some  of  the  commanding  dignity  of  the  single  column  or  obelisk, 
but  gain  in  interest,  etc. 

According  to  circumstances.  Two  may  also  convey  the  idea  of  Contrast  or  Opposition. 
For  instance,  if  Unity  is  kept  in  Form  and  Color,  but  Magnitude,  Inclination  or  apparent  Motion 
differs,  the  sentiment  of  Contrast  is  at  once  awakened,  and  in  the  case  of  each  the  eye  and  mind 
sway  between  them  till  the  Dominant  Magnitude,  Motion  or  Color  is  found.  Thus,  according 
to  clearly  comprehensible  Laws  and  Conditions,  the  sentiments  may  be  Eesthctically  awakened 
of  Control,  Subordination,  Contrast,  Opposition,  Dispersion,  or  Concentration  back  to  Unity. 


SH0\y— How  Three  or  More  produce  the  idea  of  Variety  and  Richness,  which  may  become  Complexity  ajad 

even  Confusion  unless  Balance  and  Unity  are  established,  and  unless  sufficient  System  and 
Co-ordination  enter  to  impress  the  observer  with  Unity  in  the  Motive,  Treatment,  Light, 
Action,  etc, 


Lesson  VI.— Chart  VI, 


1^,  * 

«  •   « 

••♦•     ■:;:. 

*    a     •    # 

•  •   • 

«    «    •    •            -11    « 

•  «   « 

u m  * 

«  *  • 

SOUAKE  "i*-  CUIE  ROOTS 


t:^:^5^^^ 


SEEP-GRAS^-   TREfS      -     CL0OP5    V   roRESTi" 


4» 

(5) 


51 


i? 


-@  @  @  @  © 

^  >^  ;»^  ¥> 


^      S8IE7      ^fef'      ^'^J     Vi3^ 

<^     <^     <»    <^  ■  <^ 


SHOW — That  the  Soul  may  be  conceived  as  Thinking  outward  from  the  Centre  of  the  Brain  to  Infinity 
(though  incapable,  apparently,  from  earthly  limitation,  of  thinking  Absolute  Infinity  or  Eternity). 
But,  from  conscious  UNITY  in  itself,  the  Soul  can  conceive  of  the  Addition,  Multiplication  and 
Division  of  Units,  z.  e.,  of  Abstract  Number  with  its  Properties  and  Processes;   (and  this 
irrespective  of  the  notions  of  Order,  Direction,  Size,  Form,  etc.,  in  which  the  units  may  be 
taken,  and  which  may  or  may  not  be  associated.) 
SHOW — That  in  the  same  way  the  Soul  may  conceive  of  SPACE  inside  as  well  as  around  and  outside  of  itself — 
thinking  from  the  centre  of  the  Brain  to  the  confining  skull,  through  and  beyond  in  all  directions 
into  Infinity.     Into  this  SPACE  it  may  project,  abstractly  or  concretely,  its  concepts  of 
NUMBER — (Separate) — in  "  so  many"  units. 
QUANTITY — (Continuous)— as   "so  much" — of  any  agreed  unit  as  standard  of  Measure  (as 

"pint,"  etc.). 
SPACE — (Extensive) — as  "so  large" — of  any  agreed  unit  as  standard  of  Magnitude  (as  "inch,"  etc.). 

(  in  one  direction,  for  line. 
Which  space  unit  may  be  considered  as  extensive,  }  in  two  directions,  for  surface  area. 

(  in  three  directions,  for  volume. 
Man  has  established,  from  convenience  and  necessity,  i  —  Length, 

Three  Standards  of  Reference  in  J  -|-  Breadth, 

(   *  Thickness. 
The    Standard   Angle    is   the  Right   Angle — reflecting    itself    around    its    centre    in    three 

'horizontal,"  are 


planes,  equidistant  at  90°,  of  which  planes  two,  the  "perpendicular"  and 
again  Standard  relative  to  Earth's  Centre. 

Lineal  Series — as  pearls  on  a  string, 
-as  spots        "     leopard, 

bush  or  in  cluster. 


The  Artist  may  think  of  Units  in  ]  Surface 


Volume 


— as  flowers 


rrmT 


n>  (^   (^  f^ 

£J1£1L 
XLXiX 

n-t-t-r 


SHOW- 


Units  brought  so  close  together  as  to  appear  Lines. 

He  may  conceive  (even  abstractly)  of  I  Lines       "  "  "  "  "       Planes. 

Planes      "  "  "  "  "       Solids. 

(Exemplified  in  nature  by  grasses,  leaves,  trees,  etc.,  optically  blending  as  in  above  chart.) 

He  may  conceive  (even  abstractly)  of  Units  of  Line,  Surface  or  Volume  Arranged  for  practical  or 

artistic  purposes  in  various  definite  Forms  or  Patterns. 

He  may  conceive  (even  abstractly)  by  help  of  Imagination,  entirely  New  Forms  or  Combinations 

such  as  may  never  have  been  concrete  on  Earth  but  yet  fulfill  all  necessary  artistic  Conditions 

and  Principles  (as  the  romancer  does  his  fairy  tale,  or  Michael  Angelo  did  his  Sibyls  and  Angels). 

These  may  afterwards  be  associated  with  matter  concretely  and  worked  out  therein — 

The  same  Idea  remaining  Beautiful  in  many  embodiments,  in  many  materials  (as  where  the  same 

conception  of  a  beautiful  bureau  may  be  worked  out  in  oak,  cherry,  maple,  etc.). 

-That  the  Arrangements  of  Units  in  Series  becomes  more  and  more  agreeable  to  the  Spirit,  and  hence 

"  to  the  eye,"  as  we  see  the  Principle  of  Unity  extend  itself  over  the  elements  involved  (as  indicated 

in  Lesson  V. ,  and  to  the  degrees  there  explained). 

(  Sun=a  Circle. 
Thus,  as  our  marginal  illustrations  show,  if  we  take  1  ,,  t:>ii„„„   „,  (^,„„„„„f 

^,     '  ,.,j-^,.^i^iT^  J-       ,.-it.i  c     \  Moon=Elhpse  or  Crescent, 

three  symbols  for  the  Celestial  Forms  dominant  in  the  sky;  as  for  ) 

(  otar=^a  otar. 

If  we  introduce,  ist,  the  Element  of  Unity  by  Line  Attachment,  as  in  the  Savage's  bangle. 

2d,        "  "  in  Size  or  Color,  "      Pearls  or  Gold  Coins ; 

3d, 

4th, 


Distance ; 

Direction  (of  the  individual  units'  axes) — 


a  steady  increase  is  gained  in  the  sense  of  Order  out  of  Chaos,  and  the  first  great  law  iu 
concrete  life  as  well  as  ornamental  pleasure  is  obtained  of  Regularity,  Uniformity, 
and  "  Repeat." 
The  experimental  units  may  be  almost  what  one  wills— humble  or  noble,  simple  or  complex,  sc 
long  as  they  Embody  Principle,  and  may  be  associated  with  concomitants  of  Color,  Lir  ht. 
Texture,  Inclination,  Tendency,  Motion,  Type,  Standard,  Sentiment,  Character,  and  they  vvill 
awaken  the  Sense  of  Beauty. 


LESSON  VIL— CHART  7. 

SHOW— That  as  Number  pervades  everything— ("  He  numbereth  the  Stars,— even  the  hairs  of  your  head  are  numbered ")— a jvery 
distinct  character  in  Beauty  depends  upon  Number 

(We  would  look  very  differently  if  we  had  as  "many"  legs  as  a  caterpillar,  or  arms  as  an  octopus.  This  we 
quickly  perceive  in  the  many  legged  and  armed  idols  of  Indian  temples.  The  very  number  of  the  daisies  in  the  field 
impresses  us  quite  differently  from  the  isolation  and  rarity  of  a  "  century  flower.") 

Number  gives  Insistance — forces  the  Attention,  reveals  the  Intention. 

(Many  bison  feeding  impress  us  quite  differently  from  one  lone  bear — Many  swallows,  rrom  a  solitary  soaring 
eagle — The  many  arms  raised,  of  a  congregation  or  crowd,  from  the  one  priest  or  officer  officiating.) 

And  though  in  all  Multii'i.ication,  the  sentiment  of  Unity  is  preserved  in  the  unit  repeated,  yet  we  mark  the  Increase  of 
Interest  (up  to  a  certain  point)  by  Insistance,  and  the  consequent  Esthetic  Law— (derived  from  Mathematics)— that: 

I  The  More  impressive  the  Unit  is  (from  any  cause,  such  as  Size,  Interest,  Complexity,  Vitality  of  Color,  etc.), 
"     Less  do  we  require  its  multiplication,  in  Design,  to  reach  the  same  quantity  of  Effect. 

(As  would  be  the  case  with  the  strokes  of  a  bell — The  stronger  the  pepper  the  less  needed  to  season  the 
soup.  This  should  be  remembered  in  decorating  our  rooms.  A  small  quiet  pattern  in  wall  paper  may 
be  oft  repeated,  where  a  "noisy"  one  would  distress.) 

So  too — with  Volume — in  Quantity — as  with  the  "majestic  "  effect  of  Ocean  distinct  from  sparkling  ponds,  brooks,  goblets. 
Or  "      Space       Magnitudes — in  Pattern — as  a  giant  from  a  dwarf,  shanghai  from  a  bantam.  Church  from  Chapel. 

"  "  "  ~'  "  Distance — as  the  close  proximity  of  round  Units  in  the  peapod,  from  the  separated 

Units  on  the  peacock.     Here  Nature  generally  shows  that  wise  Decorative  Judgment  founded  in 

MEASURE.     By  which  she  reveals  to  us  the  wonderful  Principle  o{  Proportion— (or  Proper-Portion) — a  larger 
decorative  unit  for  a  larger  decorative  space.     Stronger  foreground  for  broader  background,  etc. 
SHOW — That  under  this —  "     — category,  are  several  considerations  of  great  importance  to  remember  later. 

Everything  terrestrial  is  seen  to  have  its  "  proper"  Limits; 

"  "  Measure — relative  to  Earth  and  the  objects  on  her. 

"  "  Measures —     "        "  Itself,  and  subordinated  to  itself. 


Here  will  ultimately  come  in  consideration  of  that  great  topic  of  Com-mensuration — 

of  which  a  phase  is  known  as  Sym-metry. 
of  Metre — Ratio — Scale-Standard,  etc. 

Science  now  joins  with  Inspiration  to  show  us  the 

Great  Creator  has  veritably  "  measured  the  water  in  the  hollow  of  His  hand 

meted  out  Heaven  with  His  Span, 

weighed  the  Mountains     "      "    Scale 
and  "    Dust  "      "    Balance." 


SHOW — How  Everywhere  are  Equations,  numeric,  quantitative,  distributive ; 

latent  or  visible ; 
in  chemic,  mineral,  vegetable  or  animal  Existence. 

Many  of  them  appear  retained  with  rigorous  exactitude.  How  wonderful  are  some  of  the  Concrete  Formul.* 
in  Chemistry  and  Animal  Structure!  How  strange  that  the  tree  is  so  measured  to  man  that  its  fruit,  which 
feeds  him,  is  high  enough  for  its  protection,  yet  low  enough  for  his  attainment!  That  fingers  and  toes  are  so 
rightly  numbered,  measured,  and  located  that  they  best  beiit  and  aid  him  in  his  career.  And  so  with  the  parts 
of  every  other  vegcable  or  animal. 

These  Measures  of  Nature  may  be  regular  or  irregular,  and,  as  often  occurs,  regularly  irregular. 

In  Ratios  which      "      "  ascending  or  descending,  "       "  "  both  ascending  and  descending. 

By  Scales  and  Standards  to  which  they  are  deliberately  and  delicately  proportioned. 

The  few  cases  where  Disproportion  seems  to  exist — as  in  the  beak  of  the  toucan,  legs  of  pelican  or  seal,  belly 

of  bullfrog  or  eye  of  owl — are  generally  explained  by  the  situations  and  conditions  of  life — and  indeed 

Nature  herself  is  not  above  an  occasional  play  with  humor  and  comedy. 

In   general,   however,   her  constant  and  delightful  display  of    delicately  adjusted  Measures  is  so  clear  a 

manifestation  of  Her  Spirit,  and  so  eminent  a  Necessity  in  Beauty,  that  this  faculty  of  the  Student's  Soul 

must  be  early  developed  by  Observation  and  Practice.     TA/s  will  bring  freedom  and  strength,  and  free 

the  student  from  slavery  to  plumb  lities  and  artificial  or  mechanical  props. 

Most  wonderful  are  even  the  Abstract  Equations  of  Pure  Mathematics  and  Geometry,  as  showing  that  the  very 
foundations  of  Nature,  as  well  as  All  Form  and  Beauty,  are  Spiritual,  and  laid  in  Spiritual  Relations — 
(as  the  accompanying  and  later  charts  will  show). 


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LESSON  VIII.— CHART  b, 

SHOW — Thik  the  Human  Spirit  has  the  power  of  abstraetly  conceiving  and  considering  any  Positions,  ReiaL'.ono  sttT  Arrangem'^iia!  i 
Points  in  Space  that  it  will — whether  conceived  within  the  narrow  limits  of  the  skull  or  beyond  and  about  it  into  Infinity— 
and  from  earliest  ages  has  delighted  to  so  image  and  study  these  abstract  Relations  of  Points,  with  their  ideal  lines,  angles 
and  planes,  (independently  o^  material  substance.)  That  theae  powers  and  projperties  of  Space  Mensuration  and 
Comparison,  which  we  term  Geometry,  lose  nothing  of  their  certainty,  reality,  and  beauty  from  the  fact  that  Earth  supplies 
DO  "pertect"  concrete  duplicate  of  them,  from  which  they  could  be  inductively  derived  ;  or  that  our  ink  lines  (of  what  we 
term  "perfectly  straight,  square,  or  circular"  diagrams)  are,  under  the  microscope,  very  irregular  and  imperfect  !  These  mate- 
rial expressions  are  but  convenient  pictures  to  symbolize  the  even  more  truly  "  real "  Perfections  of  the  Intellect.  Trigo- 
nometry, Astronomy,  and  even  practical  Phyaics  live  and  grow  upon  these  Spiritual  Perfections  and  Powers,  (in  spite  of  all 
physical  iraperfectioils  or  obstructions.)  The  orange,  egg,  or  pupil  of  the  eye  may  be  but  imperfect  suggestions  of  the 
true  sphere,  ovoid,  or  circle,  on  which  they  are  planned,  but  do  not  invalidate  the  perfection  of  these  corresponding 
psychical  IDEALS  nor  the  certainty  o^  the  charm  and  infinite  mystery  ^Yhich  belongs  to  them. 

V 

It  is  well,  therefore,  for  the  student  to  practice  and  experiment  with  these  beautiful  Geometric   Relations,  in  order 
both  to  stimulate  his  Imagination  and  test  his  conceptive  and  lomposing,  faculties  in  contrasting,  checking-,  balancing, 
overlapping,   and  correlating  them  in  every  possible  way — first  with  instruments  and  then  by  "free  hand,"  and  lastly 
'    with  the  Principles  of  Art  Composition,  that  will  be  explained  and  exemplified  as  we  proceed. 

The  Oriental  fancy  has  been  wonderfully  prolific  in  these  germinal  ^nd  suggestive  figures,  which,  indeed,  underlie  all 
the  beautiful  iirt  of  God  and  man. 

The  accompanying  chart  is  simply  a  "starter"  for  the  Inventiveness  of  the  young,  to  give  a  tew  "steps"  and 
"  motives  "  (from  which  endless  combinations  may  be  generated),  and  without  anticipating  the  explanations  to  follow  shortly 
why  certain  figures  have  a  peculiar  Individuality  and  Charm,  and  a  marked  decision  of  effect  in  proximity  or  combina- 
tion, (dtie  to  what  is  scientific  as  well  as  aesthetic  Law.) 

In  the  chart  of  my  preceding  lesson  (which  is  a  diagram  of  lineal  equivalents  to  purely  mathematical  equations), 
A  Principle  of  very  great  moment  must  be  noted— that  not  only  are  they  beautiful  by  the  Law  of  regularly  repeated 
ecd  contrasted  units,  but  the  aesthetic  impression  of  MOTION  is  generated  upon  the  eye  and  brain  ;  rhythmically 
first,  then  swerving,  breaking,  straining,  controlling,  combining,  and  at  last  composing  harmoniously— or  playing 
fieely  about  centres  of  control,  and  within  limits  and  conditions  oi  pleasant  Composition. 


Lesson  IX, 


SHOW — How  the  smallest  conceivable  Unit  of  Space  (termed  "Point")  may,  by  Spirit,  be  given  Position  anywhere,    and   relative 
to   Spirit's   Sklf,   may   be   within,    without,   before,   behind,    under,    above,    beyond  itself. 

Man  does  not  know  "  where  "  in  Space  he  or  his  Earth  is — but  relates  both  to  steadier  stars, — nor  whether  "  within" 
God  or  "without,"  "beneath"  or  "beside"  Heaven,  etc. — (these  terms  being  relative  to  other  centres — Man's 
Spirit  being  only  a  "centre"  to  him,  on  this  star). 

But,  (as  Mr.  Emerson  explained),  '■  Mind  being  the  magnet  to  find  Mi.n'D,  and  Character  to  find  Character," 
or,  (as  St.  Paul  explained),  "  Spiritual  Truths  being  spiritually  Disckkned,"  man's  Spirit  "discerns"  everywhere 
Universal  Plan  and  Law  as  Spiritual  Manifestations,  and  so  reverently  concedes  the  seer's  truth  ;  "Thou  fiUest  the 
immensity  of  Space  with  Thy  Presence!     In  Him  and  for  Him  are  All  Things!" 

Still  more  deeply  Man  feels  Mind's  mysterious  and  intimate  relation  with  Omnipresent  Soul,  when  out  of  infinite 
or  infinitesimal  Space  (far  beyond  vision  in  delicate  gases,  chemic  solutions  and  protoplasms),  risk  into  the  range 
of  Sight,  nebulous  worlds,  minerals  "accreting,"  organisms  "  growing  "^myriads  of  Embodiments  of 
Divine  Ideals,  with  persistent,  consistent  and  logical  Relations  (numeric,  quantitative,  distributive  and  formal : 
perhaps  dynamic,  structural,  functional;  or  highly  vital,  intellectual,  emotional);  and  he  discovers  that  he  can 
(somewhat  like  God)  summon  from  the  infinite  depths  of  human  spirit  endless  kindred  and  wonderful  Ideals, 
with  kindred  Relations.  And  though  he  cannot  add  (save  to  his  organic  child  of  flesh)  that 
"Vital  Spark"  which  gives  independent  existence  by  "growth,"  still  to  the  children  of  his  Intellect  he  mav 
give  such  definite  Form,  Beauty  and  even  Substance  that  they  become  tangible  and  visible  and  possess  a  certain 
spiritual  Life  in  vitali>.ing  other  Spiriis.  Still  better,  he  finds  his  spirit  capable  of  discerning  and  being  msDircKi 
by  Motives,  Principles  and  Methods  manifested  in  the  Creations  of  The  Divine  Artist,  and  so  capaoie  at 
remanifesting  the  same,  and  incorporating  into  mere  human  creations  a  kindred   Fascination  and  Immortality. 

Indeed,  right  here  in  this  Susceptibility  to  Spiritual  Intuitions  ^nd  Inspirations  consists  Genius,  (as  the  iron 
needle  athwart  the  magnetic  current  is  "  dead,"  but,  swinging  into  line,  is  "  polarized,"  and  can  polarize  other  needles). 
In  this  Susceptible  Response  to  Divine  Motives,  Principles  and  Methods,  consists  the  Power  of  Seer,  Poet  or 
Artist.  The  Measure  of  Divine  Pressure  upon  him  is  the  measure  of  his  Genius  !  Herein  seems  to  lurk  the 
secret  origin  of  Force  Itself!  For  once  granted  the  mystic  Formula  of  Eternal  Mind,  which  all  space  contains, 
then,  by  a  Cosmic  Consensus  in  Harmonious  Spirit,  every  fraction  of  Itself  obeys,  even  to  that  which  may  be  a 
lower  condition  of  Itself  (humanly  termed  "Matter").  All  of  this  Matter,  which  within  terrestrial  compass  is 
termed  "  physical"  and  "  atomic,"  moves  to  the  Impress  of  Immanent  Intellect  and  Will  (stupendously  reasonable  and 
resistless),  and  according  to  this  Influx  and  Susceptibility  secured,  would  seem  to  arise  the  Ratios  of  Motive  Energy, 
Whether  known  as  Chemic  Force,  Vegetable  Vitality,  Animal  Will,  Human  Reason,  Moral  Choice  and  Volition. 
Therefore  Life  appears  to  be  the  Distributed  Vital  Energy  of  the  Divine  Spirit 


Entering  (  (Perfect)  Celestial, 


-;  (Imperfect)  Terrestrial    '- 


(Purgatorial)  Infernal, 


Conditions 

and 
Relations 


according  to  degrees 

of 
Spiritual  Consensus. 


(Divine)  Art  appears  to  be  the  Introduction  into  Life  of 


Perfect 


Physical    1 

and 
Spiritual 


Conditions 

and 
Relations 


for  Cosmic  Expression  of  Divinf. 


(Naturall  Art  appears  to  be  the  (more  or  less)  Perfect  Embodiment  of  these 


(Hiimanj'ART  appears  to  be  the  (more  or  less)  Perfect  Embodiment  of  these 


Divine, 

Natural 

and 
Human 


I 


Conditions 

and 
Relations 
Conditions 

and 
Relations 


Imagination, 
Sentiment, 
Principles, 
Motives, 
Methods. 
Terrestrially, 

Apart  from  human  agency. 
Through  human  agency, 
Andwith  added  limitations  of 
Personality  in  the  agent. 


Beauty   appears  to  be   the    Perfect    Embodiment    of    Perfect    Ideals, 

appropriately  relative  to  special  Time,  Place,  Circumstances,   Materials,  etc. 


Every  gem,  bird,  flower  or  child  has  clearly  "in  embryo"  a  divinely  Artistic  Ideal  and  Concept,  which  it 

holds,    (and  Time  cannot    destroy — though    it   may    appropriately    modify    to    environment),  and    which    it    is 

the   Law   of  its^LiFE  and  Well   Being  to  approximate.     These  Ideals  seem  ever  based  on  numeric,  geometric 

and  distributive  Relations  of  special  Fitness  and  Significance,  which  constitute  Form  Reasoning  and  Formal  Art. 

Now   here  is  to   be   noted  the  important  truth   that  not  only  is   the  Art  of  Nature   a   Divine   Poem,  full   of  interest 

and  delight — a   Cosmic   Language   which   other  celestial   worlds   must  comprehend   if  they   too  are    "made  according 

to   His   Image "   (or   Ideals) — but    only  in    the    measure    that    man    puts    Life,    Intelligence    and    Meaning    into   the 

which  his  Imagination  creates  and  collates,  can  man's  Art  have  Beauty  and  SiMificance. 

and       V  Surfaces  <  ^ 

Concrete  J  Solids       I  Good  Form  Implies  Good  Formative  Ideas  and  Ideals. 


Lesson  X, 

From  the  "shape"-less   Forms  of  chaotic  dream,   nebulous    fog,    smoke,   swaying  bubbles   that  are  but  four  millionths  o» 

X 

an  inch  thick  (yet   occupy   space   and  are   visible   to  sense),  to   the    definite    beauty   of   the   Apollo   Belvidere,    we   have  the  whole 
range  of  FORMAL  ART, 

{Structure  and  Motion — by  Lines. 
Decorative  Pattern —      "    Surfaces. 
Organic  Functions —         "    Solids. 
All   expressive   or  insipid — in  themselves  and  their  combinations — according  as  the  artist's  spirit  is  potent  or  impotent.     They 
take   measure   and   meaning  from   the   Mind   that   made   them. 

Art   Education   Must  Always  Commence   with   Spirit,  therefore— even   as   Life  commences  with   Germ   and  continues  to 

Material  Embodiment. 
It  should  never  be  mere  mimicry  of  the  shell  of  Nature,  nor  blind  borrowing  of  technical  processes  only.  Nor  does 
it  commence  with  "Technical  Process"  and  end  off  with  Spirit.  Feathers  do  not  grow  birds,  but  birds  grow  their  own 
appropriate  feathers.  There  is  no  such  thing  as  good  "  Technique "  without  good  Spirit  first,  for  the  Special  Spirit  of  an 
art  work  must  suggest  its  own  Technique  and  Treatment.  Ideas  and  Ideals  must  inspire  to  effort — Meaning  Must  Inform 
Matter — Sentiment  and  Principles  Transfuse  and  Ennoble  all  Media.  Upon  a  clear  comprehension  of  this  hinges  the  whole 
success  or  failure  of  Life  and  Art,  and  indeed  the  whole  Evolution  of  a  National  Art,  as  a  Natio.n's  Liff,  depends  on 
its  putting  Soul  above  Body.  For,  as  a  great  Art  genius  once  said,  "  Expression  cannot  exist  without  Character  as  its 
Stamina,  and  Character  and  Stamina  can  only  be  given  by  those  who  feel  them.  Inappropriate  execution  is  the  most 
nauseous   Affectation   and  Foppery." 

So  let  the  Art  student  first  conceive  an  artistic  Purpose  and  Plan,  then  look  about  for  the  most  proper  Medium  for 
its  embodiment,  as  the  gemi  of  a  flower  seeks  appropriate  elements  in  Earth  to  manifest  itself.  If  the  inspiration  comes 
from  some  Idea  or  Sentiment  already  presented  by  Nature,  analyze  and  appreciate  well  this  "Nature  Poem"  in  its 
artistic  aspects,  and  viewing  it  from  that  side  select  the  most  characteristic  for  the  Art  purpose,  holding  these  simply  and 
saliently.  Then  select  what  medium  and  treatment  will  best  convey  these.  Rich  and  pulpy  fruits  may  suggest  oil  colors  ; 
light,  transparent  flowers  may  imply  water  color  treatment.  Or  of  these,  some  may  be  so  dainty  in  form  and  delicate  in 
texture  as  to  suggest  jewelry,  glass,  or  porcelain  application  ;  others  more  bold  and  freely  flexible,  lend  themselves  to  clay 
and  open  carving  ;  still  others  are  so  current  and  clambering  as  to  adapt  to  borders,  so  aspiring  as  to  go  with  panels,  so 
formal  and  flat  as  to  suit  floors  and  walls. 

Let  us  always  feel  and  see  the  Spirit  of  God  or  Man  in  our  Art — for  Nature  plus  Human  Nature  is  Higher  Nature, 
and  wherever  these  appear,  in  any  material,  we  alone  have  High  Art,  for  the  "aristocracy"  does  not  depend  on  the  medium, 
but  on  the  Spirit  in  the  Medium.  In  all  good  and  perfect  work  there  will  also  be  a  certain  Spirit  of  the  Material  preserved, 
which  is  its  essential  sentiment  (implied  in  its  textures,  properties,  limitations,  etc.),  such  as  Hardness  and  Endurance  in  rock 
or  iron,  Plasticity  in  clay.  Transparency  in  glass,  . Preciousness  in  gold,  etc.,  etc.  This  we  must  sensitively  guard,  as  the 
elements  of  Material  Substance  in  Nature  are  mysteriously  connected  with  the  very  Ideals  they  are  to  convey — a  truth 
beautifully  announced  by  the  sacred  poet  (long  before  modern  science  confirmed  it),  "Thou  sawest  my  Substance  yet  being 
imperfect,  and  in  Thy  Book  all  my  members  were  written,  which  in  Continuance  were  fashioned,  when  as  yet  there  was 
none   of  them." — (By   the   spectroscope  we   can   detect   the   same   materials  in   the   celestial   worlds  above.) 

Now,  this  "Continuance,"  or  Principle  of  Continuity,  (alike  in  The  Ideals  and  The  Force  effecting  the  ideals),  is  not 
only  one  of  the  most  convincing  proofs  of  Mind  and  Will  back  of  Nature,  but  one  of  the  most  fascinating  and  wonderful  facts 
of  Art.  Certain  Ratios  and  Forms  seem  to  be  as  immortal  as  Nature  or  Mind  itself.  On  all  sides  we  see  The  Creaior 
taking  delight  in  remanifesting  certain  Type  Forms  (which  also  forever  delight  us),  as  though  they  were  a  DIVINE  ALPHABET 
from  which   Cosmos  itself  is  derived  like  an  immortal   Poem  or   Book  of  God. 

The   Square. 
Cylinder, 
Cone, 
Circle, 
Ellipse, 
Spiral, 
Pentagon, 
Hexagon,    and 
Star, 
l-Sd  over  them  reign,   in  supreme   Beauty  and  Significance,    those   Three  Great   Primaries, 

The  SQUARE,     CIRCLE  and  STAR;— (frgm  whiph  all  others  are  derived). 


Of  these  the   foremost  are 


LESSON  XL 

Now,  to  understand  the  Charm  and  Character  of  these  wonderful  "  Typo  Forms  "  and  " Primaries,"  v.e must  rccosnize  the 
origin  of  their  Beauty  and  Style,  in  the  peculiar  Relations  they  present,  which  indicate  remarkable  and  constant  Tendencies 
in  the  Intelligence  and  Will  they  convey. 

As  the  eminent  Electrician,  Edison,  once  said:  "  Every  atom  seems  possessed  by  a  certain  amount  of  Intelligence  from  God. 


In  harmonious  and  beautiful  Rixations,  they  assume  a  beautiful  order,  interesting  Shapes  and  Colors,  or  give  forth  Pleasant  Perfumes, 
as  if  expressing  their  satisfaction  " 

These  Relations  and  Forms  seem  to  please  the  Divine  Mind  for  themselves  (relative  to  Attributes  in  Himself),  for  man  finds  them 
in  spheres  and  orbits  above  him,  forms  about,  under,  and  even  within  him,  and  actually  before  he  ever  was.  As  Job  exclaims  ■ 
"Thou  makest  the  grass  to  grow  where  no  man  is."  Space,  Form,  Beauty,  exist  therefore,  in  Spirit,  beyond  man  or  matter,  though 
revealed  to  man  by  Mind  and  Matter.  The  human  spirit's  consensus  with  general  si'irit,  "enables  it  to  reach  out  indefinitely  into  space 
and  locate  points  (as  minute  but  actual  fractions  of  space)  at  any  Distance  and  in  any  Relation  we  please.  We  can  conceive  auo 
perceive  these  space  points  extended  into  lines,  surfaces  and  solids  (either  by  an  expansion  or  multiplication  of  themselves),  and  feel  our 
own  and  other  spirits  contemplating,  measuring  or  creatively  brooding  over  these  Space  Intervals  and  Relations  (as  St.  John  saw  the 
angel  with  the  measuring  rod  over  the  Celestial  City). 

But  the  process  itself  of  "extending,"  "measuring,"  or  (like  the  Spirit  over  the  first  waters  of  life)  "brooding,"  implies  forcs 
operative  in  Mind  or  Matter. 

Now,  the  Centre  of  a  form  may  be  considered  its  Germ;  its  inner  structural  axes  are  its  Skeleton ;  its  marginal  surface  boundaries 
give  its  definite  or  "apparent"  Form;  but  the  Power  Itself  which  "measures"  the  "Relations"  must  be  Intellect,  and  the  Power 
which  holds  its  parts  together  must  be  will.     The  Generative  and  Creative  Power  is  Imaginaiton,  and  the  Materiali-iing  Power  is  Art. 

Thus  are  spiritually  generated  the  loveliest  Divine  and  Human  Conceptions,  before  ever  they  are  concretely  "  realized  " — but  th=y 
are  none  the  less  "  real." 

Every  Artistic  Form — "  Ideal"  or  "Natural" — from  Minerva  of  the  Parthenon,  to  the  daintiest  humming-bird,  must  be  intelligently 
viewed  as  presenting  : 

I  St.  — Thoughtful  imagination  and  plan  in  its  definite  Measures  and  fixed  Limitations.     (Numeric,  quantitative,  formal,  etc.) 

2d. — Will,  in  the  stress  tensions  of  the  original  energy, 

and  in  the  Directions     "  "  "         (relative  to  the  Centre  of  the  activity). 

3d. — The  Individual  Co-operation  of  its  Parts  toward  Combination 

from  their  positions  in  space  (relative  to  each  other). 

4th. — The  ultimate  Result  (or  Resultants)  from  the  Equasion  (or  Equasions)  of  the  Angles  of  Energy. 
Which  Resultant  is  its  total  Individuality  and  Expressive  Force. 

Thus  every  "  Type  Form  "  and  "  Primary  "  is  found  to  have  organic  character  and  style. 

(As,  of  course,  must  all  derivative  forms  proportionally  have,  in  Nature  and  true  Art; 
If,  therefore,  we  consider  these  in  connection  with  a  few  primary  a.kioms  of  science,  j 
wo  will  discover  there  are  just  as  clear  and  absolute  "         beauiy.  ) 

Thus,  the  clearest  Science  of  the  Human  Mind  to-day  assures  us  that : 

"  The  Unive^?se  is  of  necessity  Infinite  in  Space,  Time  and  Mass. 

"  Cause  and  Law  is  of  necessity  universal  and  un variable. 

"  Matter  is  inert  (static),  will  alone  (dynamic)  can  move  it— for  we  know  matter  from  space  alone  by  the  measure 
of  our  will  which  we  exert  to  dis-plaee  or  re-arrange  it. 

"  Energy  is  primordial,  indestructible,  continuous,  convertible  (and  so  known  to  us  as  force  and  motion). 

(Normally)  proceeding  in  all  directions  equally,  unvarj-iag  in  quantity  and  velocity),  from  absolute  unity 

to  relative  Units  and  Centres. 
(Practically)  differentiated,  deflected,  transmuted  to  Diversities  and  Individualities.     Hence  Action  and 
ReactiogrAtq^ttoa^jd  Repulsion,  Alternation  and  Rhythm. 

These  Planes  aa^»ii*ections  of  Ten"aoi^ntain  the  Laws  of  all  Structures  and  Forms. 

^,U,--[^  


Lesson  XII. 

•'  The  Universe  is  an  orcanic  whole;  growth  being  from  within  outward,  by  a  perpetual  Pulsation  and  Rhythm 

which  begets  Evolution. 

"  The  Highest  Development  of  Force  implies  the  greatest  Freedom    ) 

~-, , 7 —   —  V  Attained  in  Life, 

Combined  with  spontaneity  m  opposite  directions.     ) 

(Where  Pulsation  is  most  rapid,  with  Equilibrium  of  opposite  tendencies). 
"  Force  tends  to  free  itself  from  Matter  more  and  more,  and  appear  externally. 


I  Simple,  "Energetic,"  Crystal. 


"  Hence  Life  Forms  divide  into  Fwo  Series,  |  ;  |  Matter  dominant  over  Life  |  "  Living,"  Vegetable. 

I  2  I  Life  dominant  over  Matter  |  "Animate,"  Animal. 

"  Every  minutest  particle  of  JIatter  is  made  mobile  by  the  indwelling  Force. 

"  Life  ever  implies  a  Constant  Return  to  the  Centre  of  Force  for  a  new  lease  of  E.xternal  ICxistence. 

"  In  every  finite  part  of  the  Universe  is  an  Ingenerate  iiias  from  Chaos  to  Cosmos. 

"  Each  thing  can  manifest  itself  completely  only  by  representing  its  being. 

ist.  In  Unity,     zd.  In  Individuality,  and  3d.  In  Diversity. 

The  general  tendencies  of  Nature  thus  apply  Energy  ~| 

~ ,  ,  I       in  an  indispensable 

through  Form 
'  ,      .,  triune  way." 

by  Matter  j  

Hence,  most  beautiful'.y  and  marvelously  Material  Nature  takes  three  Primary  Forms  and  Stages  of  Expression,  most  clearly 

revealing  these  Primal  Tendencies  and  Attributes  of  the  Spiritual  Like  creating  her.     They  appear  to  continue  in  Character,  Motion, 

and  Sequence  as  eternally  as  the  Divine  Will  continues,  thus  inevitably  impressing  us,  and  enabling  us  to  similarly  impress  others. 

The   ist  Stage  and  Form  is  that  implied  in  the  very  Directness  and  "  Rectitude"  of  every  original  line  of  atomic  impulse — 

showing  its  individual  Quantity  and  Intensity  of  Energy,  and  its  obedience  to  the  Principle  that  a  straight  line  is 

the  Promptest  Path  ("the  shortest  distance  between  two  points.")    Hence  (aesthetically)  Straight  or  "Right" 


Lines,  Forms  and  Movements  impress  "the  Eye,"  (/.  e.  Mind)  with  a  sentiment  of  swiftness,  purity,  penetration, 
vigor,  and,  as  it  were,  the  Dignity  and  Truth  of  Law.     They  are  eminently  masculine  in  Quality. 
When  a  cluster  of  atomic  impulses  have  no  fixed  mutual  centre,   and  are  contending,   as  it  were,  for  the  fullest  measure  of 
individual  Expression,  Dominance  and  "  Right-of-way,"  we  have  in  this  Competition  and  Comparison,  the 

ist  Stage  of  Civilization  for  Matter  and  Mind,  Society  or  Art.     (In  Matter  it  is  represented  by  the  repulsion  of  Gases.) 
As  corollary  from  this  we  note  :  that  when  Two  directly  opposite  impulses 

aie  equal  and  simultaneous — the  Point  or  Atom  is  in  Rf.pose  of  Tension. 
when  equal  and  unsimultaneous —  "  "  "     Beat  or  Pulsation. 

when  unequal  and  unsimultaneous —  "  "  "    Undulatio.n  and  Rhythm. 


An  Oblique  Angle  or  Curved  Line  inevitably  implies  Relativity  of  Forces  and  Subordination  of  one  to  another  Standard. 

Th3  "Perpendicular,"   "Horizontal,"  and  "  Right  Angled  '   Relations  are  terrestrial  Standards  of  Repose  in  Tension 
and  Equilibrium. 

The  Perpendicular,  or   "Upright"  is  (humanly)  the  most  dignified  and  imposing,  as  impressing  on  the  mind  the  Prin- 
ciples of  Rectitude,  Self  Reliance  and  Equipoise  (from  v.'hich  all  Deflection  may  be  measured). 

Under  this  Primary  Consideration  we  have  a  quantity  of  "Vigorous"  Decorative  Forms,  beginning  with  the  Square. 

The  beautiful  Principle  of  Parallelism  or  Similarity  of  Tendency,  is  contained  in  the  Sides  of  the  Square. 
The  2d  "Primary"  Stage  and  Form  of  advanced  Relation  (alike  for  Matter,  Mind,  or  Art),  is  v/here  between  Two  distinct  Impulses, 
one  is  frankly  Dominant  and  Controlling  (centripetal),  the  other  frankly  Subordinate  and  Auxiliary  (centrifugal),  at  constant 
and  equal  distance.  An  advanced  sentiment  is  generated  of  unity-in-duality,  of  Repose  with  Action,  in  just  f.quii.ibrium. 
Enough  of  vigor  with  enough  concession,  enough  conservation  with  enough  progression,  vyith  no  suggestion  of  inner 
conflict,  but  a  healthful  advance  from  competition  to  co-oferation.  Then  we  have  generated  the  superb  ("  feminine")  form 
of  THE  CIRCLE,  with  all  its  multiform  modifications  and  combinations  (which  in  Matter  is  reflected  by  the  passage  from  the 
angular  tension  of  gases  to  the  globular  and  undulate  liquids. 
In  the  3d  "  Primary"  Stage  and  Form,  of  higher  Combination,  by  which  Many  Impulses  are  Co-ordinate  and  Co-organized  in 
Unity  and  Equilibrium,  we  have  the  highest  (Radi.\te)  condition  of  Matter  and  Mind,  and  hence  the  Perfect  and  Definitely 
Composite  Beauties,  which  become  germinal  in  Nature,  and  possess  the  pov/er  of  Fructification,  Fruition  and  Recreation. 
The  transition  to  this  Radiate  Relation  gives  us  many  beautiful  intermediate  and  secondary  forms  (Oval,  Elliptical,  Spiral, 
Tangential,  etc.)  All  of  the  above  are  constantly  and  concretely  presented  to  us  by  Life,  in  every  diversity,  but  never  lose 
their  essential  influence  in  equations  of  Forms  and  Force  (with  which  we  must  aesthetically  and  socially  count).  Their 
Correlation  or  Composition  under  subsequent  Principles  of  Selection,  Proportion.  Emphasis  and  Expression,  constitute 
the  Eternal  Foundations  ok  ORGANIC  STYLE.  ~— ™™-~- 


J 


X 

CHART   Xll. 


ESTHETIC    MANIFESTATIONS 

OF  THE 

SPIRIT-OF-NATURE 


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LIFE Vy  force 


SECTION    SECOND. 

lesson  xiii. 
Vital  Art  Development  and  Expression. 


2d. 


3d. 


The  great  Founder  of  Christian  Civilization  once  told  his  disciples  to  leave  the  Pharisees  and  Doctors- 
of-the-law  in  their  doomed  conventional  "  Church  "  or  "  Temple,"  and  come  with  him  (as  "  living  stones  ")  for 
a  quiet  walk  (even  on  the  Sabbath  day)  into  the  fields  of  NATURE.     And  stopping  them  before  A  LILY,  He 

"  CONSIDER    the    LILY,    HOW    IT    GROWS."         That  is: 

Reflect  carefully,  by  what  Organic  Methods  and  Principles,  it  achieves  its  vital  Progress. 

Let  us  "consider"  this  wonderful  Object  Lesson  of  Eternal  Life,  fron.  foundation  upward. 

1st.  We  note  A  LIFE  FORCE,  in  nature,  which  no  man  can  create,  but  which  lurks  latent  (An  Intellectual 
and  Emotional  Power)  between  the  particles  of  otherwise  dead  or  static  Matter — Ready  to  use  matter 
as  its  fulcrum  or  agent,  when  conditions  of  light,  warmth  and  moisture  are  favorable  to  its  purposes. 
Whenever  a  special  Qerm  IDEAL  (such  as  the  seed  of  lily,  tulip,  grape,  etc.,  containing  its  own 
intellectual  and  emotional  formulie,  opens  its  life  to  union  with  the  mother  life  of  Nature.  Her  greater  Life 
is  willing  to  bring  its  special  individual  life  to  expression  and  fruition.  Each  seed  is  a  condensed  Divine 
Ideal  or  Poem,  perfect  and  potent  wheresoever  carried. 

Under  the  guidance  or  incentive  of  each  healthy  "  Germ  Ideal,"  the  Life  Force  moves  forward,  not  only 
to  a  concrete  revelation  of  itself  and  the  "Germ  Ideal,"  (by  means  of  mobilized  material  atoms)  but  also 
of  Eternal  PRINCIPLES  and  METHODS  pursued  by  Nature  throughout  her  handiwork. 
Such  as  Logical  ORDER  from  cause  to  effect;  CONTINUITY  and  REPETITION  of  effort  toward 
definite  Result;  including  definite  Direction  of  MOTION  toward  that  result;  with  Space  and  Time 
LIMITATION,  from  beginnng  to  end  of  the  movement  (whether  vigorous  and  angular  like  the  easter 
lily,  graceful  and  undulate  like  the  tulip,  or  playfully  curling  like  the  vine).  SELECTION  also  of 
fitting  materials. 

Careful  relative  MEASURE  or  Metre,  involving  delicate  PROPORTIONS  to  definite  standards  and 
Ratios  of  Extension. 

SYMMETRY  and  BALANCE  of  parts  and  measures. 

Form — characteristic  and  constant  for  each  Individual  Ideal,  or  completed  phase  of  individual  expression, 
through  lineal,  surface  or  solid  extension  of  the  parts.     Conic,  oval,  spheric,  etc. 

COMPOSITION,  or  arrangement  of  Parts  for  total  effect,  constituting  Beautiful  Design,  and 
attaining  Unity  in  Balance  and  Variety.  The  Sentiment  and  Intellect  alike  of  God  shown. 
Color,  Odor,  and  Texture  may  still  further  announce  the  Individual  sentiment  of  eagh  Germ  Ideal. 
And  finally  light  rising  over  it  in  the  morning  and  setting  over  it  at  evening,  may  add  a  constantly 
varying  play  of  shade.  While  out  of  the  perfect  and  completed  Ideal  ripens  a  family  of  her  new  Child 
Germs,  each  containing  the  immortal  Ideal,  and  capable  of  perpetuating  the  Divine  Miracle ! 


4th. 

5th. 
6th. 

7th. 

8th. 


From  this  we  draw  the  important  lesson  that  Materialism  is  Death,  while  Spirituality  is  Life,  for 

matter  is  but  the  agent  or  medium  through  which  to  manifest  Divine  Ideals  on  earth. 

That  we  must,  like  good  guardians,  bring  these  Divine  Ideals  (committed  to  our  care)  into  vital  union  with 
Nature's  willing  Life  Forces,  under  proper  conditions  of  intelligent  "  Light,"  affectionate  "  Warmth,"  and 
even  the  "  Moisture  "  of  chastening  tears.  We  must  give  them  continuous  movement  in  the  direction  of  the 
Ideal,  selecting  appropriate  material  to  record  and  retain  the  advance.  Measure,  proportion  and 
properly  balance  the  relative  parts.  Develop  each  in  order.  Evolve  and  correlate  individual  and  organic  FORM 
and  COnPOSITION  expressive  of  our  Ideal,  and  finall>«give  out  to  others  that  Color,  Fragrance  and  peculiar 
Texture  which  is  the  exponent  of  our  sensibility  toward  them  and  also  their  sensibility  toward  us.  Lastly  under  the 
light  thrown  upon  our  work  by  Heaven  and  the  peculiar  angle  of  oliservation  of  each  spectator,  let  us  accept  the 
different  "shadings "  and  "  points  of  view  "  inevitalile,  so  long  as  in  Heaven's  sight  we  produce  and 
perpetuate  Divine  Beauty. 

What  is  true  of  the  Art  of  LIFE  is  equally  true  and  appropriate  for  the  Life  of  ART,  whether 
Optical,  Literary,  Dramatic,  Musical  or  other.  All  material  must  be  made  subject  to  Mind  and 
Emotion  for  the  expression  of  Esthetic  Ideals  and  Principles. 

Thus  perpetuating  ETERNAL  BEAUTY. 
Materia  and  Instrumentation  are  nothing  until  they  express  the  organic  Ideality  of  each  individu.al  and 
nation,  and  no  School  is  truly  an  Art  School,  nor  method  truly  an  Art  Method  which  does  not  vitally 
and  organically  cultivate  the  Spirit  of  Beauty,  Nationality  and  Individuality  before  the  dead 
Machinery  of  Mimicry,  Technicality  and  Mannerism.  Unless  the  young,  therefore,  of  America  are  kept 
alive,  individual,  thoughtful  and  constructive  in  their  education,  in  deep  sympathy  with  the  Spirit  of 
Nature  and  National  Character  and  keenly  awake  to  the  Message  and  Beauty  of  their  own  times  and 
materials  we  can  never  have  a  fresh,  interesting  and  permanently  valuable  National  Art  or  National  Life. 

JOHN  WARD  STIMSON. 
N.  Y.   Institute  for  Artist-Artisans. 


Lesson  and  Chart  XIV. 

The  Three  Prime  (or  Grrminal)  Relations,  Forces,  Forms,  Values  and  Colors  presented  in  Chart  XII 
may  be  blended  and  modified  indefinitely  by  Art  and  Life.  A  few  of  those  which  come  earliest  and  easiest  for 
the  pupil  are  presented  in  Chart  XIV  (a). 

^"All  forms,  whether  in  primitive  or  complex  conditions,  should  be  comprehended  first  in  their  Internal 
Structural  Like  (of  Centres,  Axes,  Angles,  Measures,  Motions)  before  Drawing,  as  in  Chart  XIV  (b).  The  curse 
AND  DESTRUCTION  OK  TRUE  ART  OR  EDUCATION  IS  SOULLESS,  SENSELESS  MIMICRY,  or  the  Superficial  imitation  and 
mechanical  reiteration  of  externals,  without  perceiving  or  presenting  the  Internal  Life,  organic  character  and 
SPIRIT  thereof.  This  fatal  error  passes  into  the  later  life  and  character  of  mankind;  into  its  work,  worship  and 
worth  in  civilization.  The  utmost  simplification  or  conventionalization  of  forms  for  Decoration  should  still  be 
based  on  KNOWLEDGE  and  FEELING.  Knowledge  to  possess  the  best  facts  of  life.  Feeling  to  perceive  the 
best  sentiment  and  significance  of  those  facts  and  arrangements. 

Lesson  and  Chart  XV. 

This  chart  gives  a  suggestion  of  Varied  Influences  which  forms  have  upon  each  other,  in  Concentric 
Combination,  by  Twos.  The  student  should  practice  and  observe  these  fully  and  try  experiments  of  his  own  for 
pleasant  results;  first  treating  them  in  line  and  then  in  surface,  and  noting  what  influence  varied  Values  of  light 
and  dark,  open  and  closed  Spaces,  contrasted  or  harmonized  Colors,  present  within  them.  Remembering  also 
that  as  we  approach  the  White  or  Light  end  of  the  Scale  (see  Palette  Chart  Xll)  the  forms  and  colors  apparently 
gain  force  and  size,  while  in  approaching  the  Black  or  Dark  end  they  diminish. 

Lesson  and  Chart  XVL 

Extends  this  Form  Experiment  to  more  complex  and  familiar  forms  of  shields,  flags,  etc. 

Lesson  and  Chart  XVIL 

Gives  a  most  important  manifestation  of  how  the  mind  (through  the  eye)  is  led  along  and  entertained  by 
the  variety  of  Motions  implied  and  suggested  by  Lines,  Forms,  Surfaces,  etc.,  in  combination.  The  figures  of 
the  Chart,  together  with  the  accompanying  Text,  speak  for  themselves,  and  should  be  very  thoroughly  studied. 

Lessons  and  Charts  XVI 11  to  XXlll 

Are  a  series  of  practical  decorative  Examples,  derived  from  the  Japanese,  of  The  Construction  and  Multi- 


PLiCATiON  of  Decorative  Units  for  Patterns  in  One  Plane.  When  the  Unit  of  design  is  regularly  repeated  in  all 
directions  over  the  surface,  for  its  embellishment  and  enrichment,  it  is  commonly  called,  in  commerce,  an  "  All 
over "  Pattern.  Students  should  notice  that  in  all  the  examples  of  this  class  the  Whole  Design  is  either  the 
multiplication  of  a  Geometric  Unit,  or  a  Unit  cast  upon  a  Geometric  "  Base  "  or  "  Underweb,"  for  regularity  of 
multiplication.  In  some  the  Geometric  Base  is  clearly  revealed;  in  others  it  is  latent  or  concealed.  This  form,  or 
forms,  played  over  and  across  the  Base  is  called  The  Overlay.  Sometimes  in  the  multiplication  of  the  decorative 
Unit  over  the  Surface,  the  eye  is  not  called  in  any  special  direction,  but  allowed  to  repose;  or.  is  so  drawn  in 
opposite  directions  as  to  remain  practically  in  repose;  in  which  cases  the  Pattern  is  considered  "static"  or 
stationery.  But  in  many  others  a  distinct  Motion  or  Tendency  is  generated  to  conduct  the  eye  upward,  down- 
ward, aslant,  or  in  undulating,  revolving,  radiating,  etc.,  directions.  This  Tendency  of  the  Pattern  is  called  its 
Set,  and  has  most  important  consequences  affecting  the  character  of  the  Design,  and  its  influence  in  artistic 
combinations. 

Such  tendencies  or  "Sets"  in  the  general  effect  are  often  quite  unexpected  to  the  novice  in  wall  paper, 
textile,  etc..  Design— coming  to  him  in  the  light  of  surprises,  as  he  sees  his  pattern  unit  (or  units)  multiplied  by 
the  process  of  manufacture,  all  over  a  surface.     Hence  it  is  well  to  study  out  the  effect  in  mass  as  well  as  in  unit. 

the  examples  of  the  series  have  been  arranged  by  the  author  in  such  order  and  system,  from  Geometric  to 
Composite  and  Organic  Overlays,  as  to  assist  Students  to  see  Principles  (which  should  be  the  teacher's  main 
purpose). 


CHART  XIV   (a). 


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CHART  XIV  (b). 


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AND  ARRAr-JCEMfNTS  of    FlCURE.5 

THESE    fJuBiMf  NiARY  f  XAMPIE5  -"IE 
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UR.  f  NlfRrAiMMtNi    IT   iS'Po'iSlBLE    TO 
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I  HROuQH  THE  tY£  .  On  ACCOu\:i  OF  the 

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CONrROH-EO   '^'^D  SrEADiet)  rouMTf 
BY    LATENT    i^RA'lTY.      SOMEWANDtR 

5cMe    leaPorspriimc,  up>a/*\rd. 

Some     SlAnT,  C  R05S.  B  alanc  e  . 
Some    Pi-ay    ABout    CENTRES  oF 
CoivTRoi-.(_iMPiieD  OR.  marked). 
Soi-lE     REVOLVE.    anPLNFOlD. 
Some    i^NDuLATE  .Su^ic  raPiate  . 
Some     Rib£   BY  CRESCEndo-DimimjEndo, 
^  O  ^1  f     C  0^\6l^E    INTERLACE     mEAMDER 
^OME    CLEAvE    OR    SEVER  . 

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FORM'5      Play   WITHlNjTHEbE 

iM  vARiEtiEi,  OF  Motion 


Co 


TRSELY 


To  -tf-RSo^i 

Centre 


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A 


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.(g) 


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P-otakyGeRm  Forms  (Frff-tAiaNceJ  CoNCf^f^.t  fNcbseJ 


A 

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CHART   XVIII. 


CHART   XIX. 


THIS  CHART     rONSi  5TS   MOSTLV    Of 

Ceometric  UN/its  oforivp(Ment; 

CONSTf?UCTED     UPON    A     SIMPLE 

Rectilinpal  UNDER-W&B  or3ASE; 

WITH    RECTANCLFD  frSLPtlMT   5ETS  ; 

hULTiT'LiE  P    1  N  One  plane. 

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THF  OVERLAY  ■ir(?or'<.LV   UP  <^Dow»;, 


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> 

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SECTION    III. 

LESSON  XXIV. 

LIFE    DRAWING. 

If  a  student  has  properly  observed  the  Origin,  Character  and  Influence  of  the  Introductory  Forms  and 
Relations  hitherto  presented,  together  with  that  most  important  of  all  considerations,  the  Beauty  that  comes 
Irom  their  proper  Harmony  and  Control  in  Combination  for  special  expression,  he  will  be  ready  to  perceive  and 
vitally  express  these  same  forms,  relations  and  beauties,  when  presented  in  more  composite  and  complex 
situations  and  organizations. 

So,  just  as  he  should  avoid  all  shallow  superficiality  and  mere  Externalism  in  drawing  rudimentary  or  even 
mechanical  forms,  but  rather  see  into  their  Internal  Structure  and  Relations  (the  better  to  draw  them  in  a  true  and 
expressive  manner),  even  so  the  good  draughtsman  and  true  artist  will  perceive  deeply  and  express  vitally  the 
Motions,  Measures,  Structures  and  Type  Forms,  involved  in  growing  and  moving  organisms,  such  as  flowers, 
birds,  animals  and  human  beings. 

IW'  As  architects  comprehend  the  constructive  relations  of  beams,  rafters  etc.,  that  support  and  partition 
a  building,  and  even  reveal  through  the  external  shell  this  internal  life  of  the  occupants,  so  the  great  classic       i 
sculptors  of  Greece  and  the  master  draughtsmen  of  Europe  (such  as  Da  Vinci,  Raphael,  Michael  Angelo,  Durer,       s 
Rembrandt  and  Millet),  deeply  comprehend  the  Inner  Life  and  Significance  of  the  living  forms  they  present.       ' 
Their  lines  are  free,  vital,  deeply  INTERPRET1VE~AND  SUGGESTIVE.     They  scrupulously  avoid  all  dead  lines,        ' 
all  soulless  "blocking  systems"  or  monkey  tricks.     Their  lines  and  forms  are  full  of  meaning.     Through  their 
drapery  they  feel  and  render  the  plastic  flesh,  and  through  their  tlesh  the  strong  structural  life  within.    Like  nature, 
they  reveal,  in  each  case,  so  much  of  this  as  is  best  for  the  finest  artistic  and  poetic  significance  of  the  whole. 

So,  as  in  the  accompanying  chart,  let  each  "life"  draughtsman  proceed  by  orderly  and  intelligent  steps — 

1st.  To  observe  and  lightly  record  on  the  paper  or  canvas,  the  Main  Movement  of  the  whole  figure. 
This  line  of  motion  (as  seen  in  Section  i  of  the  accompanying  Life  chart)  reveals  at  once  the  main  expression  of 
the  action,  and  of  course  is  not  an  external  but  an  internal  ("ideal")  line,  "felt"  by  the  artist,  and  should  be 
delicately  but  bravely  given  at  the  start,  and  can  be  gradually  overlaid  and  eliminated. 

2d.     The  Main  Measures  and  subordinate  Motions  should  be  carefully  and  lightly  indicated. 

3d.  A  proper  knowledge  of  Anatomical  Structure  will  show  him  that  many  of  these  main  measures  and 
points  of  flexure  in  the  movements  are  not  only  preserved  and  marked  in  the  Bony  Framework  and  Joints  of 
Nature  but,  according  to  variety  in  action,  are  more  or  less  revealed  through  the  skin. 

4th.  Some  of  this  same  Bony  Structure  is  also  niade,  by  Nature,  to  follow  and  indicate  clearly  (as  in  the 
case  of  the  ribs)  the  Type-Forms  presented  by  the  general  Masses  of  the  Fleshy  or  Muscular  Portions.  Thus  the 
human  head  is  based  upon  the  oval.  The  human  torse  is  a  long  oval,  divided  into  two  sections  or  basins,  an 
upper  one  holding  the  lungs  and  heart,  a  lower  holding  the  intestines,  etc.  These  two  basins  f;ice  each  other  and 
are  bound  by  the  connecting  spine.  The  human  arms,  legs  and  fingers  are  conical  ;  hands  triangular  ;  feet  tri- 
angular pyramids  elongated  to  the  front.     It  is  very  important  to  feel  these  masses  and  their  perspective  in  space. 

5th.  These  preliminary  structural  truths  being  first  delicately  indicated,  and,  so  to  speak,  cast  up  as  a  light 
"framework"  on  which  to  build  in  space,  it  will  be  found  easy  and  natural  to  express,  with  free  flowing  and 
pliant  lines,  the  plastic  quality  of  organic  and  mobile  forms,  and  that  subtile  charm  and  sense  of  reality  derived 
from  vital  union  of  bones,  muscles,  tendons,  etc  (in  the  animal  frame),  which  nature  gives,  and  the  Master 
Artists  always  preserved. 

The  student  would  do  well  to  study  carefully  in  this  connection  the  grand  and  immortal  life-drawings  of 
such  classic  masters  as  are  above  named,   and   whose  leadership  is  infinitely  more  reliable  than  the  spiritless 
shallow  and  wooden  systems  of  many  modern  art  schools  (so  called),  depending  on  a  blind  and  superficial  . 
mimicry.    ,.**iii^*«*-  ,^%Ki^..auu 

6th.  When  once  the  student  has  acquired  power  to  express  the  forms  of  life  in  eloquent  and  living  lines, 
he  can  consider  the  Shading  or  Grading  of  Light  upon  the  forms — being  careful  to  retain  in  mind  the  three  main 
divisions  or  masses  of  Light,  between  Full  Light  and  Shadow  (as  indicated  in  Chart  XII),  before  breaking  them 
into  minor  subdivisions.  Main  octaves  should  be  recognized  before  notes  under  those  octaves.  And  he  would  do 
well  to  carefully  outline  at  first  the  planes  of  the  light's  gradation  in  a  vital  and  expressive  way,  with  a  pressure  of 
black  no  deeper  than  the  shade  involved,  before  filling  in  the  shade  itself  Light  can  be  best  studied  on  white 
objects,  like  casts. 

7th.  He  can  then  combine,  with  all  the  above,  the  Truths,  Harmonies  and  Values  of  Character, Costume, 
Texture  and  Color,  relating  each  color  to  the  scale  of  light  for  its  corresponding  "  Value"  or  depth  of  Dark. 


CHART   XXIV. 


t.Gjv^'uAt/cLP 


ORQANtC  ST£PS  IK/  DRAUGhTSMANSKiP. 


S^^^'J    J~  W   StllvlSOV. 


LESSON   CHART   XXV. 

PICTORIAL  PERSPECTIVE. 


OV   THE  ^. 

UNIVERSITY  1 


PFRce-PTIon   o\- SOLIDS   FOR. 
C0N5TRUCT1OM  it\  1MDU5TRV 


TOKCE  WEAKEtSlNC- A&   iTPROCfEDS 

KAYS   MOVE    IM   STRAIGHT  LIMES 

umtil  krflected  -"refracted  — 
Dispersed—  absorbed— 

LiG-HT    PFMETKATES   UMEQ^UALLY 
DIPFEREMT    SUBSTANCES   whkh 
becorYiCL  jf?,AM5  PARENT 

TRAMS LUCEMT 
OPAQUE 
COLOR,  IS  PRODUCETD  -BV  DlSPERSlOn 
AND  ABSoRPTIOtS' — 


-SHADONA/5  ARE- 
DETERMINED  BY. 
THE  COIMSTKUCTIOn 
OF  THE  OBJ FCT 
AND    POSlT/OM  op 
THE  SOURCE    OF 
LiC-HT. 


tTTmoRHi^ 


OPTICAL  RULES  °f  AERIAL  PERSPECTIVE 


COMCEriTRRTlMC-        1 

Lme-a^ 


^^-^^^tW 


W.DIMIMISHIHG-    FORCE-   »t  COLCR- 


DlMirilSHmG- 
.,..«..  MAC-MITUDES- 


V.  DiMIMISHIMG- 
FORpE  o^C0NTf\l\5T 

^Ldiminishinc- 

DE-TAIL— 


LESSON   CHART   XXVI. 


KATURM- REPETITION. 


TKINCIPLE  OF   JIEPETITION.    (^I'^e'^L  -   Sur£RTiciAi__  solid  j     (coMPARf    LESSOM-SX) 


CONSTANT  UNIT  OP  FOKM.BuT 
MOT  0FSlZ.E|I>ISTANCE^DIReCT70N 


^ 


MORE  Constant  l/nit  or  sizE-iiisTANCE-DiRECTioK-(iiNEALVCoAfCEr\rrKic)     (.supERFierALj 


C  Solid  ") 


ARTISTIC- Repetition  of  a  constant  unit  of  FoRM-oFsi2£-oTDisTANct-oF:Dii?ecTioN-AR.n/>.N'c;ErMeNr  v<:. 

'^^^'^^^'^~'  THE  MIND  BERIVINQ  •PLEASURE    fROMTHE    RECURRENCE    OF  A    PLEASuR/KBLt    FORM  _(uP  TO  SATIETY)-     AMD  WITH 

THE    DEGREES    OF  UNITY  AN  P  REGULARITY    PRESEWTED  . 


o  o  t)  n  I  I  (p)  Co)  Co)  (°y 

' — ft   •  ^  c 


MULTIPLICATION  -(QF  the  decorative.   UNIt'inTWQ    -DIKECTI0NS-OnSURFACE> 

fFOKMANY      EXCELLENT      EXAMPLES      S&E.     PREC6PlNq    C  H  APTE  R.  -  LESbO  NTS  XVIIl -ITynTl  .') 


1^  TosKow'Hitd'<»?RMlXLt  Jud^x-m^  cinKumUel/NlT, 

;tJjL «)  wvcw  vnuuffUilk  jh^vloH'f  fiUti:>lUTATTER?r. 


1    ^^^S-^-\^,-|^      I 


CbLuwYU   1  "tt  a,sfumr 

k-tkiiliAw.i^CgvvvMi^ 
livUfCovTattWAC}  kaeti  t 

(lWtUv'>n«Aa«K.4  4tfoUAv 

Lv^.'cUaKth!'  Oldl^)  OrOuM  >< 
ttuSOAnt  MAViKsX^^^ 

NEW  TOC>i^S 
J.W.SUv* 


LESSON   CHART    XXVII. 


_  PRINCIPLE   OF  PARALLELISM 

•'   ~-^  W 'Y/'   Constant   inpepekdencc  v- iNpiviDUALtTY-wrrH  stmuarity  qfiukection  .or.  c/niTy  oFtREisfp. 


)^^^;^&^E^ 


lUePKiNC\Pveo^?AKAUElJlSM-ON  all  sides  RtPKEStNTtS 

VN  ^)^Tl)RE    AHOT\R.T,   1^NJ)    ONE.    Of  Tti.E    EA^UY    H  AN » FESTftTlONS 
•of     TOR.Ce  _     \'^o6A»Ly     CV«£S     XT&  ^EAWTY    frN"     FACINATION 
(as    Tin    ESTHtHC  CLEhewT   IN  DESICN)  TO  tHt  fLEASURt  THE. 
NINO    EXrtMtNCES     IN     NoTIN<;    THE  CONSTANT  HAR.M0NIOO& 
USSCCIATION      OF  THE  FRtt  UNITS    iMVOUVtP-       -RNDTHeiR, 
STEACr    TR0<>RES5I6K    TO<;£THfcK,     7\T    £a,VAL    INTERVAL  . 
TJ.ETA\N1NC;    -THtVR     X  NP'ViPOAUTV     AN&     I  N  PEf  ENPAnCc. 
WHILE      AT    THE   SAMt    TIME.      TENDlN^     0  r"T  KE  NI>IN<;" 

IN  f\  Common  Ti  rcction  ,  THEReBv  imflvin^  7^ 
UWiry  OUNFLUeNCE  AND  A  SIMILARITY  ^TMOyciM  IVOT/ 
ABSOLUTE  IPENT.TY)  OF  :RIM,  J^O    WBRO   ST.^iS«.- 


LESSON  CHART  XXVIII. 


LlHl TATI ON ,     ;^i N c  1  ple:  of  METRE-  ok,-AKTIST]C  MEASURE. 


rgvTrtoLueP  'rjASUPREMEVVlSDom 
wA^j^  LiM ITS  Cor^JiXJgElS  » CogjLiii^^ 
Hep-  Acr.oN  W  Exi^iCNC^.I^  '^^■fe 

C^d  ticJ^ tfc^  KEmCJRp^WHoNS^  Cov, 

1  tc  Life. 


W  AKT. 

MEASURES, yvv-v?  5i^^f c^-.e  S,  W 
/'SPACE.    P^   T>>.*:t'<^/wCAJ » 

So,  l^^F0Ril,^i]OLO^ ,  ■J'  seoAcA/^  ^ 
specific  Measures  tT)  %^\mu>4,  FOfVCTiois/ 

(^  CHARACTER  ■ 

rfux^   t^  DIVISION  o^ R-r.  ?  RT  UMIT 

In  CeoMETHY  ,  0^  5^>^  La/^^  -yvvOM  K 

(Set.  fA^  hfJ^  criLu^Cl.c^)  ■■ 

\vLiu  til  ototctij  cfjjtw  aA>w*v\^ii4 

Li  i*.  tit  ^fi-f^Ad  C^J^uuM-,^- 

So    fo-O       Or^-Jv   tSVAA^«V*-4    >v^  ^ 


T<J«?MS    STREN<;iHfN£D.j  G„je«t*. 


321 


LESSON  CHART  XXiX. 


■   '•"* *■•     -■  •   -  '^i\cjiaMe!! A^ h<J^  v^^*^ 

f<wfi4  bjttHfrj%  wi^^  I^Uywl  *^'tht  JiiuktZt^  tU 
\iOMUMNC_E 

n  e,Jv(ia  HV-t«^  H^^  ^-''^  "H^ 
RfFIECTlOK  ^4  eit<^AMAv.Tntfu^  wiW 


amj!> , . -^ 

V, 


Point  of  Graotty  sejt'n^  iuMtbAtsJ.Ui(M 
^  AnWrv  ^t/^-uc  i^j£<j\^  iajti\^  i7»«j(ijHa-C^J>«»>««» 

j'vAiixjvki.  4  tu'Rinci^  4  Dominance. 

^  it'i.Klt^t,  t"avXj  CcruAo^s  flinaMtn  tu-jsiM^^iL 
ifK^  (lyLtt  i<«i£  ;  lCJi*ivitfitoui.«.ia~4£i^.:l.. 

JuTtf J  fc,  tt^  t.>j>-«iL  ()\  dt  /^^  |>Ti%-v>ifAsi)  life 


LESSON  CHART  XXX. 


METRE  .  (cuNTiNtei.) 

•novt  PitiMxiluA.  cwv  t>i/tn.A«ivwa  Law  of 

TROPORTION     ' 

I'M  UrvuxU.  rfa  i£«/t,«A  ynjimJit\,i  ex-  Sul- 
A  stta.  ox.  divdojmwuA  itCtlxi  <1(^^inaJi^Jiwll. 


Suit  pMMi<^  J^"*^^  '""^  "^ 

G RAD AT  I  ON 

At  fuiat<*vvl  fi  Snw.  CVwd  OVvuvwiAvt^i» 


•J- iTfinwiZ^Si^^i^!!^ 


i^i!-''] 


W  ifvl-V*^    t 


-1  Oinl/lCffw 


■XIa  w  s,e«Av  Uv.iL.  QiwcJ;  JUtoW^^ 

TvWt  iyeiMi^VOw^ _,^    ^  ^-^ 

ut!^iatjrvi--i  W:lfcAu*«j^  ACoWsifi^i.    I 

{ita  (McUxd.  VWv  urdL  a.  hM  iffi\A^M^  ^ 
iwd  U..  tiJil-  V>u(jii.1)a|t^t»4*4iaf{ 

llritSu  Y"^ ieilu  SJAaI-  D^tL  hjMrOid  a}a»4 

aiTcuJ. , TXv,  Xo^oi  ,vc .        "^         *~       T" 

(V»\ci  u,*  iu.  IJij  (o)  tW^  ^uri  n(U  ufoHilvtiffj 

Lmuw  italwu  <u  a  Uu^»«iJ  stiWAvii.  teiiiii^ 

[itKUTY  to  ■hM.^ U  Uo  i)aic<ft«^^tcuLcMptv»iaB' 


lJiiIiETR^M^wtL2IMv^ 

(Wrti  ftJi<LaU~i  FnrWW;  Woe.  ^  WtisJi^. 


LKSSON   CHART   XXXl. 


STATI<^     <><  jyvKIAMJC^  rORCE  ■     tEAT.  PUtS/VTiON  ,     IJ  HhV  l./>^T  ION  Cii^^^^  a^J.  COynfUt^J) 

!TnTf\/\/  WW'   Isj.fi-f  ^  :i5l^  -      — ^-^-- 


ALTERNATJOM.-te. 

Lessons,  rtuatv^jji- MEASURES  t\S\^ 

Tior<£D  V  Gj/<ttiAic;i  (W  Co  bL<rt(MA.  Ckx 
.'h^cjL t^ CUr\JM. au^  f^  ^U^i frtwo.1 

Rhythmic  flow-  Uu-z^-^tU- 

UK^^  ,Hkn:^^"X£AfaWBeAarY 

TRINCIFLES    cr{- 

ALTEP.NATION 

Count  e^-CHANGE. 

iNTtR-CHANCE. 

Complement 

Contrast 

opposition; 

RHYTHM 

£iUx^(^^^m■u,  t.  fuUd^  iMX, LMj uUk 
<n.  A.t^U  V^i  J^^-U-  ,'ph^i  ov«i,v  iWb  soc/^ 


I  I 


kU^  {tj  nAutLvmi-V  kg/vwunvuntA  .^nryA^^^T!^ 


I     ^ 


LESSON    CHART    XXXII. 


uvC  {mqA^7c  wholeness  v. life- 

Jg-ftuJUi  ,  >Vt^tfwi,  ^A^t^fcwijvCs,  Xct£*_^c--  . 

dv!~.  '>K<m  cLnJL  to  iXIpAji  *  Si':^  '■'^     " 

iKt  ^ j!»i^  ,WwnvW  Con,  SuMyAauti)^ 


...^ .^ ^ ^,„.  .,„ — vMcmA| 


tnv<  c 


cn  t^,  ^  ^'^'^5^yj;f'ifer' 


VA,' Vl.  VAJ  *>«*^"-Vjr      iv«/^j    --      - f —  d    U    , 

rti»in-<AoiJ-  iA£  aAiijit;  iiiwoJj  i»w»t<x<i .      A< 


COMMENSURATE 


aUciatJUn 


SECTION   IV. 

LESSON  CHART   XXX  II. 


fflUxLi  0Vi.Vvva.vv4   i^>ut,vfui^ 
v,.P.,    v>,n^T>>  Ldtixt-c- <:(jvv4<:< 


tnuw.^  V  luyaijtvv  Y^dixi-i 


•^ ^ — — ^  <i — 


riiu     V>\(Mv« 


■lcx.<rw>-it~  ^  ivvauAl^ 


r^ituiivi    V>\(Mv!6  td^.v— -  — . 


fuvi 

7^  i£i(iv.Rcnv5.)  riv«.uvu,b 


tiwA 


%1[ 


to  funt-mcfv.  (<j''^'l  «-^cim<i  rt  Uift^w 
So  aa.w4"i.v  dixeftwu-ntsTWrkiM^lttw 

iUUZab.  -i]  V  iu^A*  XL.  Ji^i  it,  VUW  CB  hSu, 
dlivuki.  Vli^^cj.  jvtfifcfetirvv.    a-Sttk 


(0,_. 


fcicmxvuvrtct,. 

'i/uJuiatU'vi 

^i^UlttlMVUtJVv .  . -- 

TfWfwntu^v  • 

OMlfc&^vvUvl". 

TRiu^Tli  »v^ '3-- 

G)VLHa4/viiji.}V  0<Wvtj£>i  Jul  ( 7— 

(W-Wotli.  p— ^i i  /«- 

C(MtC(?iitu»vW  Hoh/VvuTHM^  /^  . 
Oci  ifvtw.  '*vaui  .^  cJiJiuk  tiu  »&U1H»»I_ 
•Jeclvvtual  fy'ttuluAvti  InlXuttM 


tvlvLs  n  |<rtvvvj.  UA£  Ofetc^tcil 
^r[^T3iWtfux|Uvv^  M^,, 

Aufl^tAty.  W  4|ui^uWiK 

IiiCLxtoXivu)-  ur^vcu'tAx  uAoMviufi^^wwd 


UwtCi  vvq  _  'uduju.  yyutaJUi 


uLv^Aj^  Uul^  aturt  AoVa  fe 


L  ISSON  CHART  XXXIV. 


CQivrPQSiTTorTIi 


c^fuuJ. 


noio  viite.  rfvWL  Uitfti  t/^liawAtii.  m/'i't/hc. 


^iU  A^  Row  (H-l-  H-pfu^ 

dtiiU^  ffin^ww^  i)^n<uv>^,  .fr^itt^  aa;^, 


LESSON   CHART  XXXV. 


COMPOSITIOW 

life  Acu/C  vurtUicLtlu  o^wtoWi  cliAmuW 


,14-  I  j4- .   h,.-W^.i.„    /v^Mi.ilMhMl 


'^. 


-c> 


V 

2CA 


> 


Jd 


;:rx[^ 


CoYYvJ^^l;WA&^^(}»al       ^Mj^Y^  t>nUxKiU>  OX  ^jUlTyvJU  (xJi  VoaMa!  a  wtu>UM   to  Covv>JA^  So  Ct/vJU.         ^0»^^tW>■  ClMt^i  01^  Suil^ 


0 


liU^^T^i       g^^^-»fc^^^fc^^^'g'^^^ 


>U^=v^ 


^   ^.-few^ 


^^'^^^  ^^ste!  ^S  a^-^^^ta.^^ 


3f: 


2A 


1 


w 


>.*:   i./':-:/.-i.--j 


LESSON  CHART  XXXVI. 


COMPOSITION 

(Ccrvvtvyvu-CcL) 

Ojisjwvfnx  cvvui'vvu>u,XiWafea 
jjVovvvIm,  coTvditMrYU  oi  t/m- 


•iLni^7>ec[ ,,  lA  iw  a6?  (V.xWte<J-  - 

'RoTvwdL"  JU\iL6  ■»  (oWi  unil 
^M^omo^  ttoJiuXm.  ^  bXOx^i 

tliL  iCcn^rtxjX&h  luvwvvovui*  . 
(^(fM  O/vuJL  !3i/xf.tuAiUi  oaXcwvati 

fvvvaki  to  vvi4^  ^^^«i^  ttti. 

ClAvvtol)L4  OM  SMlUcamt  "to  xtiui- 

huhjC/imaA  V  'vwoTJlLUcaXccJvvi'  ofp 
5un|(ltt°a4  w^o^^  ^i^ruMirna 
iraAM'w  nnoJuHAjtbuj,  cyuitOvus, 

■RiiAi|4''{r{;  uwik  umK,  jf*«^. 


id^o^owiJb:j^  to  jiuii^ 

(w,cL  Cjl/nMui  |uct«U4i  nJWvivivvvY 


LESSON  CHART   XXXVII. 


DCPKISSIOV^ 


to1^  dUuU^  WmiueJ.  vix^tW  ^Kcfcj^ 


^%,yi& 


OtTvU^iUlui  Wck/^  5WJjk£Vvv«   0^  >>Y  /^  ^^'• 


m\ 


(1) 


^^A^    Cs'i 


e^yoo-dr^ 


(5^ 


8o4a^^ 


_L4i. 


ki: 


(n) 


(2) 


aa. 


JiiL 


^U^d 


^1^ 

4^^ 


'\5 


11) 


LESSON   CHART   XXXVIII. 


■3W  |0u):  1W  c^rt,^  CKoA^  ^i^  s-^  e^*^  . 


MUSICAL 
PICTURES 

IN  DUSr  OF 

EIDO  PHONE 


„t\]uS  educolltrvv 


VECETABIE   I 

LIFE.  Y        SeS^V  STEMS 


4cr*vut  cy^M\i.  o-vuflt  'wUiAx4>W<^  ^t  vw\lji<AWvk 
oWl  advTX/vv£L<4^JAl4WcttoTT^ 

to)d\^to  o4uX  <Vv^ii«nal  WA^t^  Ccrvv^^ 


M: 


^®*l 


St.   ^   .   , 


LESSON  CHART  XXXIX. 


.        „UvuKanxK.i(K)LA^  l{uJvvvllfxJl  v/w 


MCLLUSK  [rjl-jj 
SHELLS 


:C0vt6CLfla6 


tivc'cavuiii«V^t«  Substance^-  suWctivt,  5A,vdLvni/vvh, 


YlQtto  JWEARK 


flu  ^i  ccwA.  cLtM-,ffX  fiQAiX  i^vV|^,<iWJ-,  wu 
E^uiJi^u)  v^^ji^pA  ^^t^*^  ^4^^^^^   11 


UXMudSiflfei  ltfuxt<MlEMrrY_tIju  o{fmmt 


.1  A  ^LdhJi'aa  nli  YAnilr^L 


nxJoi  5W4^  ,^  cluxvvi^  ■u--utL£<Xuu5  crj^d/jvWit 


SACRED 

PRJMATIVE 

SYKBOLS 


+  T 

+  +  •%•©©*-« 


Rt^'SON  .TRUTH -SCtNCfc -LWN  .GOVWf 
\J0C,\C  .1NVH  MWt.tNts.G\  .CON(^UEVT 

SH.ENT.STtR.N.THODI.HTfOa.l-Vfc'iCULlNE. 


EVOLUTION  lNl\WlHVTE.cmE^:^ 


^^/vi 


EGYPT 


1 .  a    & 

GKEECe 


EOYFT.O  IaQS^ 


tMCTION.Z-fcA.L  tfHlCS-1!,t.lHc,\0U.hOMt 
SOClOlOCtV  STittMiolMlin.1ino«AcV.VOiWmiY 
SOClM  TLAW IC  TM\on.  6N1)VSRW&  .TtNVI  UlN  t 

Sac  tRDoTMlii!.^  .Vf«iVui«'Wpfw  y  Ofws  O?/.' j 


ROME 


MHMWSICS.  NMOMUWE  T^N^M^S^^.^^lHOt■rtt.SKla 
Ci^V.CHttRKIL.VOLRTlue.lNUEMUC.    C^llPLlM. 


CHW.ST1AM       MOOK 


OMfrVT 


Lesson  chart  xl 


^  rn ''(aiwv'Kouj.frl  U  t|u.JA^|JMmLcm^AW■ 
|o^vni  oito  ittJu  u^tlxiL  sfiin:!-  C^tiu  wud^ai^lcoL 


ajfutK^T^ 


^mu. 


lAOW.  0\tf 


U^ 


I^KT  TO\UTS-oT-Ylt\N- 

jiwu  OH.  VDullCMJi  VdVM^  vvt  luiucL  tkL 

to  (ul  cum.  oAtlcliicircU ,  o\  WHm-,^  aW 


JVC,   (nvvvu-«Au^u^^,-v^'--,-"-p--j    -■«      y 

IhX.to  Madr  AtctW  l^^^|vuaaLj««r^ 
l/iit  wUxa.  crttfiacl-Luto  -total  V  S|i£cuil  Mwi4fl 


1  nl  Id. 


-AcU)  Uui  ,  CnxkixO.  Wlki,  V^t^AA  lunr-ivi). 


Ktlu 


Wf/ 


MMou  .oijiTiaaftfi.au, 
JnoWcumL.SttlmACVi. 


AW  >crmtK  Of  THt  BHigJ 


LESSON   CHART   XU. 


,/«U^fUWufeJ,"^"N^,TV)R£'iST«\T  \co' 


tveoW)  (AVn 


n 


\£8^'H/\Ni>ivvcfKK'*-Uviv\l4  Her.  E-arthu^  Stuwo. 

lAKn^ ti».-,t,   ntJL.s  (S/1  Cg>^AteteiwQti\i;LA.TROTeR-tlEs),t^mt 

3tuu,  Vw  Wvtavvxa  HEfcVtN  bowk  to  EAP.TH  vj<.'Ravs£Eawh 

Ulmual  /UCiH*  and.  U£tMt^£ltt.(m.i  OM.  tm  SC^j-uxm  unJ^mmU  iwTSJugi^L  i.u«5 


MECHANICAL 
RELATIONS 


ACRIEABU     Sliir«CC  Oltlincs 


'Ccvumlffvv6 - 


;lcrVnxi  ji 


Cumi. 


crl  AiAMlaJ 


Launllii 


tfi/cUu-O     M  ^l^'^^i^  —  ^  ~-y~   ■ Jf^lL.        ■/ 

t^T^^nfLcAjX^axl  iZY«i&M^  -HlJU^,  '^T^t 


ifTfCtfT 


Ya&"fe-( 


cctfi-iix- i"t^^'/'"A'"^  "'■ •  ■  L        0,11'—.--; 


-  QVWwc  fmovt/vnC/yvt  ,j!MnMaitBV\.  SuWivtititw, 


IkcffYtiIi<m. \j>  SuonwW  JTrt^iiWlM  4tiicKff»v  V  e^n^>KA4i4iY\'?k(wjia.. 


GooA.'Iic^Aqm,  dxM-d  tiVowv-"VVVtJtai  CKaA-ouctu.  tWcTAg^^ . 


LESSON  CHART  XLII. 


"itii  vnodi  Ao3tiA|arW|  WAuji)  cum  iua/wni^Au^ttf  |W  w  inM 


A-tiu. 


o^%TRuauU,vs|:,JM>w 


TujyufU.  a/uwWum  fcrm  iAt/c/tM."b&dteA.^c 


ul- L4.akrti>ui  *^^ 


>vuu^  O-ffl.  AA"mLA])lN  LAMP-    te  (r}^wV-£.^KoU«rv 

Beauty  ,  urLrai  Saoitd}ntMA^Uajifi£ixiamtceo<}ui 
^f;^^^  '-ywuL  r<L6kMii^'^    ^■U.OVX  U  .-.rile  a,  ^ 


lAK  AcuK  Awvh  ikoJ^  Beauty  u,4x.iJmisJiMt^m 


&T0  Mtimfu 


icmiimc,^^t  nLoJ[iXai>.c^  LiNE.il  ,SWfw1£   -  '^- -' " -^^  ^ -»  ■ -JJ  ■ 


IpjiMncVvTWt 


^clcJ^W  gf^^^^  VacwM^n^ 


w< 


(^CoH4J[jiA.V^'\   IvW^  ^>M»JiM?AiwAvUCXv.. 


Ul^fE,&m^J*.Ct,Sl^  SOLJJ>. ) 


PRACTICAL   CONCLUSIONS. 

BEAUTY  like  TRUTH  or  GOODNESS,  is  an  eternal  Attribute  of  Divine  and  Universal  SPIRIT,  a  condition  of  its  feeling,  a  mode  of  its 
working,  a  result  of  its  operation,  as  it  moves  fortli  by  Creative  Intelligence,  Original  Plan,  abstract  but  indestructible  Formulae,  and  the  agency 
of  matter  and  motion,  to  final  manifestation  of  Immortal  PRINCIPLES,  SENTIMENTS  and  MOTIVES. 

The  human  Spirit  in  all  its  phenomena  being  part  of  universal  and  harmonious  Nature,  must  in  its  aesthetic  impressions  be  subject  to 
absolutely  rational  and  demonstrable  Law,  and  indeed  in  the  sequence  of  its  historic  development  and  creations  has  been  found  so  to  be. 

To  us,  both  divine  and  human  ART  is  THE  SPIRIT  IN  THE  MATERIAL,  and  our  Methods  are  therefore  adapted  to  intelligent 
rational  beings  seeking  the  universal  Spirit  and  Principles  of  Nature,  universally  visible,  universally  needed,  and  universally  applicable  to  all  men 
or  material — the  Universal  Language  of  Forms,  Structures,  Functions,  Forces,  Textures,  Lights,  Colors,  Combinations  and  Adaptations  through 
which  has  been  delivered  the  marvelous  revelation  of  natural  and  human  Art. 

Aesthetic  Science  is  as  absolute  Science  as  Physics  or  Ethics,  and  as  fully  worthy  of  profound  attention  and  application  alike  from  its 
sublimity,  attractiveness,  and  marvelous  historical  social  and  industrial  results. 

At  tlie  close  of  this  great  century,  with  such  light  thrown  upon  all  science  by  noble  minds  like  Darwin,  Spenser,  Fiske,  Clifford,  Pestalozzi, 
Froebel,  &c.,  we  can  systematize,  better  than  ever.  Natural  investigation  and  Art  Education.  Recognizing  in  Nature  a  Duality  expressible  in 
terms  not  only  of  Eternity  and  Time,  Space  and  Place,  Static  and  Dynamic  Force — but  Repose  and  Action,  Conservatism  and  Progress,  Tradition 
and  Inspiration,  Humanity  and  Self;  we  strive  to  combine  Mind  and  Matter,  Idealism  and  Realism,  Theory  and  Practice,  "  Artist "  and  Artisan." 
On  sociologic  and  scientific  grounds  OUR  IDEAL  IS  THE  ARTIST-ARTISAN— a  balanced  temperament  and  development  which  harmonizes 
allied  and  co- essential  truth.  Without  losing  sight  of  respective  roles,  the  Artist  is  made  more  broad  and  helpful  by  practical  acquaintance  with 
material,  the  Artisan  more  plastic  and  efficient  by  becoming  more  artistic  and  sensitive.  On  similar  grounds,  we  welcome  practically  the  benefit 
of  interinfluence  from  opposite  temperament  and  sex — woman's  work  growing  stronger  and  more  valuable,  man's  more  refined  and  sensitive  by 
contact.  Best  of  all,  Art  is  vastly  improved  and  broadened  by  universality  and  comparison  in  which  essential  charms  and  limitations  of  special 
media  are  clearly  distinguished  and  respected. 

Our  Curriculum  is:— promptly  and  clearly  to  show  students  those  VITAL  PRINCIPLES,  ABSOLUTE  LAWS,  and  GERMINAL 
ELEMENTS  OF  BEAUTY  which  underlie  all  good  Art  work.  To  carefully  preserve,  as  with  natural  plants,  the  freshness  of  their  Individuality, 
(without  stunting  by  mechanical  or  artificial  means),  to  help  it  unfold  wholesomely,  and  cultivate  wisely  its  Sentiment,  Taste,  Imagination, 
Artistic  Judgment  and  Observation,  as  living  springs  from  which  its  beautiful  creations  must  arise. 

Commencing  with  consideration  of  those  agreeable  emotional  and  moral  qualities  involved  in  Good  Sentiment,  Taste,  and  refined 
Appreciation,  we  show  that  Art  is  the  Expression  of  inner  Life,  Perception  and  Personality.  It  must  have  Character,  Spirituality,  Ideality, 
Poetry.  It  must  evince  Truth,  Sincerity,  Genuineness,  Frankness,  Virility,  Energy  rising  sometimes  to  Sublimity.  Yet  will  involve  Care, 
Sobriety,  Dignity,  Simplicity,  Restfulness,  Delicacy,  Refined  Sensitiveness,  Grace,  Charm,  Concordant  Sentiments  of  Unity,  Harmony,  Propriety, 
Appropriateness,  Fitness,  Consistency  of  Parts,  Conformity  to  Conditions,  Congruity  of  Ideas  and  Purposes. 

It  will  avoid  Setness,  Pettyness,  Baldness,  will  contain  Suggestiveness  and  Promise  implying  Life,  Growth,  Change,  Complexity,  Mystery, 
Universality,  Variety-in-Unity. 

It  will  arouse  the  faculties  of  IMAGINATION  for  Inspiration,  Vision,  Fertile  Invention,  Spontaneity  and  "  Imprevu,"  Vivacity,  Sparkle, 
Attractiveness,  Buoyancy,  bringing  recreation  and  refreshment  to  the  beholder,  with  gay  Decorativeness,  Picturesqueness,  and  even  subtle 
Weirdness. 

It  will  draw  on  KNOWLEDGE  and  MEMORY  for  comprehensive  grasp,  a  sense  of  Richness,  Fullness,  Completeness,  Finish,  conveying 
sustained  and  serene  Pleasure.  It  will  summon  the  INTELLECTUAL  Faculties  of  Reason,  Judgment  and  IVill ;  demanding  by  the  first 
Naturalness,  Wholesomeness,  Utility,  Efficiency,  Forethought,  Plan,  System;  from  the  second  Selection,  Balance,  Discretion,  when  and  where 
only  to  imitate,  or  translate,  or  transmute  or  adapt — when  and  how  far  to  Analyze,  Specialize  or  Generalize,  Idealize  or  Symbolize,  and  in 
Commerce  to  Geometrize,  Conventionalize,  and  sometimes  (for  machinery)  Mechanicalize.  From  the  third,  it  will  ask  deliberate  Initiative, 
Volition,  Control,  Temperance;  for  Accent,  Emphasis,  Dominance  of  some  parts,  Subordination,  Limitation  or  Rejection  of  others. 

The  Student  will  then  be  ready  to  recognize  these  Spiritual  Faculties  at  work  on  the  grand  Scale  of  Nature,  where  Divine  Power  is  giving 
Force  and  Motion  to  atoms.  Repose  and  Action  by  Static  and  Dynamic  Energy;  Opposition  and  Contrasts  of  Tension  as  in  Axes  of  Crystals  and 
Gems,  Rise  and  Fall,  Undulation  and  Rhythm  as  in  Waves  of  Water,  Sound,  Heat,  Light,  etc. ;  To  note  the  inevitable  Art  influence  on  eye  and 
brain  of  suggested  Tendency,  Procession,  Parallelism,  Tangency,  Revolution,  Evolution,  Expansion,  Radiation,  Dispersion;  The  Artistic  effects 
of  Straight,  Oblique,  Curved,  Angular,  Circular,  Conic,  Spiral  or  Radial  with  which  Nature  so  cleverly  counts  as  she  selects  and  retains,  from 
spring  to  spring,  her  exact  Equations  of  number,  magnitude  and  metre  in  every  germ  of  flower,  insect,  bird  or  beast,  adapting  their  forms,  colors, 
functions  and  sentiments  to  primal  standards  and  types,  to  purpose  and  place,  with  due  regard  to  Scale,  Ratio,  Proportion,  Symmetry  (in  form), 
Gradation,  Cadence,  and  Caesura  (in  movement). 

The  Student  will  thus  grow  to  appreciate  and  discriminate  the  good  in  all  Composition,  the  Cosmic  Elements  which  give  Beauty,  the  Vital 
Elements  which  give  Character  and  Style,  the  Decorative  Elements  which  add  charm  by  Order,  Sequence,  Regularity,  Equality  and  Repetition 
of  Units,  (whether  of  form,  space,  color,  motion,  &c.,)  or  devices  of  Reflection,  Contrast,  Alternation,  Counterchange,  Juncture,  Overlapping, 
Interlacing,  Linking,  Cabeling,  Strapping,  Interpenetration,  Fusion,  &c. 

It  is  then  proper  time  to  observe  the  material  and  practical  conditions  by  which  Artistic  conceptions  are  best  realized.  The  congenial 
character  of  substances  and  textures,  (whether  crystaline  or  fibrous,  rough  or  smooth,  light  or  heavy,  friable  or  tough,  plastic,  ductile,  maleable, 
fusible,  &c.,)  their  market  properties  (of  rarity,  costliness,  permanence,  &c.,)  or  optic  properties  (of  brilliancy,  purity,  translucence,  &c.,  or  the 
reverse);  their  special  technical  processes,  limitations,  beauties  and  suggestive  possibilities,  among  which  last  are  included  those  visual  methods  for 
suggested  relief  on  plane  surfaces,  of  Orthographic  Projection  and  Perspective  by  concentrating  lines  and  diminishing  of  magnitudes,  of  light, 
of  color,  of  contrast,  of  detail. 

The  Hand  should  follow  the  Mind  with  daily  practice  from  Points  to  Movements,  to  Lines,  to  Spaces,  to  Surfaces  simple  and  translucent 
at  first  (wh<;re  structure  is  visible)  to  more  and  more  complex  and  opaque  (where  structure  becomes  hidden  but  Substance,  Textures,  Shades, 
Colors,  and  Characters  become  interesting). 

By  Line  Delineation  and  Thread  Decoration  through  Lace  and  Loom  Work;  Then  Surface  Decoration  in  Stain  Glass,  Mosaic,  Enameling, 
Porcelain  Work  and  Wall  Paper.  Then  Plastic  Form  in  clay  and  wax  modeling  for  low  and  high  Relief,  Ceramics,  Tiles,  Stamping,  and  Metal 
work;  Jewel,  Wood,  Stone  and  Marble  Carving ;  to  monumental  Sculpture.     Then  Construction  in  Architecture  and  Cabinet  Design  ;  .Colors 


and  Textures  in  Costumes,  Hangings,  Interior  Furnisliings,  and  Structure  and  Function  in  organic  and  living  Forms.  Then  apparent  Relief, — 
in  Drawing  and  Shading  by  Pencil,  Pen,  Charcoal,  Crayon,  Water  Colors,  and  Oils,  from  "still  life"  or  "live  model"  (undraped  or  draped 
according  to  appropriateness),  and  to  Engraving,  Etching,  Illustration,  Landscape,  Portraiture,  Genre,  History  or  Ideals. 

Thus  Heart,  Mind  and  Hand  together  led  into  a  breadth  and  fulness  of  insiglit  and  experience,  the  student  is  prepared  not  only  to 
enjoy  and  produce  intelligently,  but  canvas  without  servility  the  products  of  other  days,  or  enter  competitively  into  the  creative  work  of  his  own. 

It  has  become  a  safe  pleasure  and  artistic  profit  to  the  cultivated  student,  to  examine  tile  expressions  in  Nature  and  History  of  these 
Principles  and  Material  Processes  of  Beauty,  whether  in  static  stratification  of  rocks,  dynamic  and  rectilineal  energies  of  crystals  and  minerals, 
curvilineal  and  spiral  action  in  fishes  and  shells,  complex  and  organic  design  and  decoration  in  vegetable  and  animal  form  or  function.  Led  by 
every  sibylline  leaf  or  flower,  insect  or  bird,  beast  or  man,  and  kindled  by  the  Aladdin  lamps  of  their  Instinct  or  Inspiration,  he  may  study  all 
adaptations  to  sphere  and  purpose,  and  be  invigorated,  not  weakened  by  their  wonderful  example,  while  he  learns  anew  the  sacred  lesson  that 

"God  has  not  left  himself  without  witness,  the  Invisible  things  of  Him  being  clearly  seen  In  the  things  He 
has  made." 

By  cultivating  the  Art  Instinct  broadly,  wholesomely,  organically,  thoroughly,  we  make  it  individual,  liberal,  national,  creative,  and 
reveal  to  man  that  Beauty  is  as  universal  as  its  application  is  infinite  and  precious. 

It  is  undoubtedly  due  to  the  greater  vitality  of  tliis  "  Cosmic  Method,"  that  such  encouraging  success  has  attended  our  Educational  efforts. 
Applied  for  three  years  in  one  Institution,  it  rapidly  raised  the  number  of  pupils  from  a  handful  to  400,  gathered  from  every  section  of  the  country. 
Renewed  under  more  favorable  auspices  in  the  present  Institute  for  Artist-Artisans,  it,  in  ten  years,  has  secured  the  support  of  the  Public,  Press, 
and  most  prominent  Art  Firms  and  such  crowds  of  grateful  Students,  that  accommodations  and  departments  have  had  to  be  doubled,  while  its 
graduates  have  won  foremost  situations  and  prizes  outside. 

JOHN   WARD   STIMSON. 


N.  B. — Those  desiring  this  Book  can  obtain  a  copy  (postage  free)  by  remitting  the  publishing  cost  of  $2.00  directly  to 
MRS.  JNO.   IVARD  STIMSON,  care  of  Seminary,  PLAINFIELD,  NEIV  JERSEY. 


Copyrighted   by  Jno.  Ward  Stimson,  Jan'y,    1892 

in  the  Office  of  the  Librarian  of  Congress 

Washington,    D.  C,    U.  S.  A. 


OPENING    CONSIDERATIONS,   ^^ni^'sitt 

WE  enter  our  existence  upon   this  planet,  miraculous  germs  of  spiritual  life,  containing  wonderful 
instincts  of  discernment  and  affinity  for  The  Central  Source  of  Reason,  Love,  Delight,  from  which 
we  sprang,  and  of  which  we  become  mysteriously  the  Expression. 

But  while,  naturally  and  normally,  drawn  to  seek,  and  delight  in,  happiness,  we  are  unconscious  of 
its  constituting  conditions  and  the  physical,  mental  and  moral  departments  of  life  through  which 
it  plays. 

We  are  born  alike,  ignorant  and  innocent  of  Life's  stupendous  reach  or  circumscriptions  ;  and  only 
learn,  by  experience,  tradition,  intuition  or  revelation,  the  splendor  of  our  inheritance  and  the  scope  of 
our  reciprocal  obligations. 

Considered  from  the  point  of  view  of  character  and  immortal  happiness,  as  much  as  temporal 
delight,  man's  true  victory  in  life  is  the  discernment  and  application  of  those  overruling  Principles  and 
Methods  (alike  physical,  ethical  and  esthetical)  which  establish  the  health  of  his  body,  morals  and 
constructive  mind  ;  and  provide  both  safe  and  salubrious  growth  and  play  for  physical  and  spiritual 
powers  together. 

The  lower  animals  enjoy  a  health  that  comes  from  primitive  instincts  of  obedience  toward  these 
natural  laws.  The  higher  animals  below  man,  even  add  to  this  an  intelligent  delight  in  conscious  mind 
(as  where  intelligent  dogs  love  to  comprehend  and  obey  a  master's  purpose  in  gathering  flocks  or  hunting 
game). 

In  some  of  the  more  imaginative  and  constructive  birds  and  beasts,  there  is,  even,  delight  in  Art  and 
rudimentary  Beauty  (as  where  the  "  bower-bird  "  weaves  for  his  love  a  bower  promenade,  and  decorates  it 
with  pleasant  shells  or  colored  objects). 

But  supremely,  over  all,  the  idealizing  and  emotional  powers  of  man  raise  him  above  such  fellow 
creatures,  and  place  him  among  the  Gods.  And  especially  is  this  true  of  his  spiritual  faculty  for  perceiving 
and  applying  abstract  Principles  of  Life,  originally  and  constructively,  as  though  in  "  the  footsteps 
of  God.  " 

It  is  to  these  "higher  faculties"  of  the  soul  of  the  reader,  rather  than  to  his  lower  imitative  and 
animal  faculties,  that  this  book  of   Art  Principles  appeals. 

Philosophy  has  ever  attempted  to  record  the  drift  of  those  vital  Principles  that  it  perceived,  though 
at  times  somewhat  narrowly  and  intellectually  "  from  the  Head  "  alone,  but  at  other  times  more  broadly 
"from  the  Heart," and  finally  in  "the  Life  "  itself,  and  in  the  "  Art  of  Life." 

Thus,  as  an  intellectual  Greek,  Aristotle  too  closely  confined  it  to  the  soul's  power  of  perception  and 
contemplation  in  his  dictum  "  Philosophy  is  the  science  which  considers  Truth."  As  did  the  modern 
philosopher.  Cousin,  when  adding  to  this  the  power  of  description  and  record,  in 

"True  Philosophy  merely  establishes  and  describes  what  IS." 

But  Cicero  had  gone  closer  to  the  word's  formation  and  spirit  (philosophia)  in  adding  more  of  the 
Affection  for  Good,  in  his  words  : 

"  Philosophy,  if  rightly  defined,  is  the  Love  of  Wisdom." 

Which  Voltaire  strengthens  by  "The  discovery  of  what  is  True,  and  the  Practice  of  what  is  Good, 
are  the  most  important  objects  of  philosophy."  Thus  bringing  forward  both  Mind  and  Heart  to  the 
Practice  or  Art  of  good  and  truthful  living,  even  as  Plutarch  had  in  the  words  "  Philosophy  is  the  Art 
of  living,"  and  as  Seneca  had  in  "  Philosophy  is  both  the  Law  and  Art  of  Life.  It  teaches  what  to  Do^ 
in  all  cases." 

But  now  the  sad  fact  remained  that  man  does  not  always  "  do  "  what  he  "  knows  "  to  be  Right, 
so  that  Shaftesbury  adds  : 

"  It  is  not  a  Head  merely,  but  a  Heart  and  Resolution  which  constitute  the  true  philosopher." 

And  at  last  our  own  Thoreau  defines  it  vitally,  in  Life  Ltself,  by  the  words  : 

"  Philosophy  is  so  to  love  Wisdom  as  to  Live  according  to  its  dictates." 

Thus  we  are  finally  driven  to  the  query,  What  is  Wisdom,  that  we  must  "perceive,"  "record," 
"  love,"  "  will,"  and  "  live  "  Her  ? 

And  to  answer  this  best,  we  hearken  to  the  mighty  voice  of  Inspiration  in  the  mouth  of  that  greatest 
philosopher  of  all  time.  King  Solomon  of  Israel. 

"  Get  Wisdom  and  Understanding  I     A  crown  of   BEAUTY  shall  She  deliver  unto  thee 


The  LORD  possessed  Me  (Wisdom)  in  the  beginning  of    His  Way  before  the  Works  of  old.     When  He 
established  the  Heavens  I  was  there.     Then  was  I  by  Him  as. 


A  MASTER  WORKMAN!" 

Thus  we  see  that  true  philosophy  is  not  only  perception,  record,  love  and  resolution  to  live  Truth 
and  Goodness,  but  that  Wisdom  herself  is  The  Spirit  to  understand 

The  Way  of  the  Lord,  in  such  degree   as  to  cooperate  Constructively  and  tangibly  in  It,  as 
A  Master  Workman,  that  we  may  be  crowned  eternally  with  The  Crown  of  the  Glory  of 
God's  Beauty  transmitted  through  us. 
"  If  man  has  the  eyes,"  says    Plato,  "  to  see  True  Beauty,  he  becomes  The   Friend  of  God  and 
Immortal." 

So  that  indeed,  true  victory  and  true  greatness,  alike  for  one's  life  as  that  of  others,  is  not  the 
enhancement  merely  of  our  wonder  and  delight  at  The  Divine  Finger  as  it  moves  through  time  and  space, 
carving  its  miracles  of  form  or  painting  the  splendor  of  its  palette  ;  nor  even  the  power  or  riches  acquired 
thereby  on  earth  ;  but  rather  the  permanent  touch,  the  comprehension,  sympathy  and  desire  with  which 
henceforth  we  live  ?'«  harmony  with  the    Master    Mind   and   join  constructively  in    the    works   of   the 

GREATEST   ArTIST- ArTISAN. 

Now  Philosophy  conveniently  subdivides  her  labors,  so  that  while  it  is  the  aim  of  the  science  of 
physics  to  disclose  those  Principles  and  Laws  of  nature  which  conduce  to  man's  physical  well  being  and 
adaptation  to  environment,  it  is  the  science  of  ethics  to  reveal  those  that  advance  his  moral  growth 
and  character.  But  it  becomes  the  specific  aim  of  the  science  of  esthetics  (or  The  Beautiful)  to  correlate 
all  these  and  commend  the  marvelous  celestial  Methods  and  Principles  of  collective  Harmony,  by  which 
God  seems  to  move,  in  making  His  handiwork  significant,  poettc,  glorious,  upon  the  side  of  proportioned 
and  balanced  Beauty  ;  with  the  Spirit,  Grace,  Fascination,  Charm,  Inspiration  and  Poetic  meaning,  He 
evinces  throughout  the  realm  of  Nature  His  "Workshop." 

In  brief,  and  perhaps  with  bolder  grasp,  we  should  claim  that  Abstract  and  Absolute  Beauty 
extends  her  mighty  wing  over  fi'frj/ department  of  creative  plan  and  constructive  life  (divine  or  human) 
in  proportion  as  immortal  and  celestial  Principles  maintain  their  sway.  And  the  sincere  physicist  will  find 
Beauty  as  truly  in  the  perfect  adjustments  and  workings  of  physical  forces,  as  the  moralist  will  in  the 
perfect  character,  or  the  musician  and  painter  will  in  the  nightingale,  the  lily,  and  the  rose.  It  is  a  differ- 
ence in  degree  rather  than  in  kind. 

Thus  Tifo»yninoexclaims : 

"  I  but  open  my  eyes,  and  Perfection,  no  more  and  no  less, 
In  the  kind  I  imagined,  full  fronts  me  ;  and  God  is  seen  God 
In  the  star,  in  the  stone,  in  the  flesh,  in  the  soul,  in  the  clod." 

And  still  another  writer  says  : 

"  We  are  surrounded  by  a  shoreless  and  fenceless  world  of  Beauty  and  Spirituality  ;  and  Art  (whether 
in  color,  stone,  sound  or  words),  is  simply  its  translation,  more  or  less  imperfect,  All  Art  is  Expression. 
Poetry,  Painting,  Music,  Architecture,  are  only  so  many  beautiful  Reads  to  The  Most  High.  Successful 
workers  in  them  must  one  and  all  possess  what  the  Bible  calls  '  Open  Vision.'  He,  of  all  persons,  must  be 
both  seer  and  interpreter  of  that  Spirit  which  lives  behind  things  and  life,  and  which  gives  them  vitality, 
meaning  and  charm.  Why  do  we  delight  in  life  with  all  her  children  ?  Because  one  and  all  suggest 
that  Presence  back  of  things." 

"  It  is  the  Divinity  Within  that  makes  the  Divinity  Without,"  writes  Washington  Irving. 

The  mighty  Life,  that  breathes,  lives,  pulsates  and  compels  behind  and  between  the  static  dust  of 
matter,  and  that  uses  matter  as  Its  agent  to  convey  Its  mystic  movements.  Its  beautiful  meanings,  does  so 
by  the  Arrangements  of  the  atoms  of  Earth,  as  a  writer  wouM  express  himself  by  arranging  the  atoms  of 
lead  or  ink  into  letters.     But  we  must  learn  His  language. 

If  we  only  recognize  chaotic  blots  upon  the  page,  we  imply  lack  of  mind  or  of  meaning,  of  intellect 
or  of  intention.  If  we  see  the  letters  and  words  independently  and  correctly  formed  but  ill  arranged  or 
unrelated,  we  imply  perhaps  a  Mind  but  not  an  intelligent  Thinker.  Should  we  decipher  a  connected  and 
intelligent  thought,  or  even  a  profound  and  wonderful  purpose,  but  unrelated  to  us  individually,  or  unin- 
spiring to  us  practically,  we  would  concede  a  noble  author  or  (if  in  Nature)  A  Divine  Creator.  But  when 
we  find  intelligent  Order  in  connected  and  consistent  Process,  combined  with  splendor  of  Moral  Purpose 
conveying  Immortal  Principles  and  Methods  involving  Wisdom,  Love,  Beauty  and  Poetic  Inspiration 
related  to  every  individual  in  the  whole  and  to  the  whole  in  every  individual  p'art,  then  we  worship  "The 
Master  Mind,"  The  Universal  Friend  and  Parent,  The  Mighty  "Artist-Artisan." 

"There  is  a  Beyond,"  writes  the  famous  philologist  Max  Muller,  "and  he  who  has  once  caught  a 
glance  of  It  is  like  a  man  who  has  once  gazed  at  the  Sun,  wherever  he  looks  he  sees  its  image  !  Speak  to 
him  of  finite  things  and  he  will  tell  you  that  the  finite  is  impossible  without  the  Infinite.  Speak  to  him 
of  death  and  he  will  call  it  birth.     Speak  to  him  of  time  and  he  will  call  it  the  shadow  of  eternity." 

This  deepest  underlying  consciousness,  inner  Vision  and  inspiration  has  never  been  absent  from  the 
greatest  seers,  philosophers,  poets,  artists,  however  modified  by  personal  or  local  imperfection  and  incom- 


pleteness.  Indeed  the  Divine  Spirit  seems  to  work  Itself  out  and  color  the  pure  whiteness  of  its  own 
"Absolute"  Perfection  by  the  very  "human"  qualifications  or  material  modifications  through  which  It 
reveals  Its  purposes  upon  Earth. 

Humboldt  writes  :  "  Natural  objects,  even  when  making  no  claim  to  Beauty,  excite  the  feelings  and 
imagination.    Nature  pleases,  attracts,  delights,  because  it  is  Nature.    We  recognize  in  it  Infinite  Power." 

And  the  poet  tJnerSoTl  sensitively  intimates  this  in  the  lines  : 

"  Let  me  go  where  I  will 
I  hear  a  sky-born  Music  still ! 
It  sounds  from  all  things  old, 
It  sounds  from  all  things  young  ; 
From  all  that's  fair — from  all  that's  foul 
Peals  out  a  cheerful  Song  ! 
It  is  not  only  in  the  rose, 
It  is  not  only  in  the  bird. 
Not  only  where  the  rainbow  glows, 
Nor  in  the  song  of  woman  heard. 
But  in  the  darkest,  meanest  things. 
There's  alway,  alway.  Something  Sings  !  " 

They  here  recognize,  not  merely  that  "  Immanence  of  Deity" — that  omnipresence  of  The  Great 
Spirit — of  which  the  psalmist  sings,  when  he  says  : 

"Though  I  take  the  wings  of  the  morning 
And  dwell  in  the  uttermost  parts — Thou  art  there  !  " 

But  something  vaster  and  more  mysterious  still  as  conveying  that  steady  Conquest — that  ultimate  Victory 
of  The  Great  Spirit  over  the  transitional  phases  which  (imperfectly  comprehended  by  men)  seem 
"adverse,"  or  situations  so  apparently  imperfect  and  incomplete  that  "Absolute  Beauty"  is  not  yet 
exemplified  thereby. 

Seen  from  an  Archangel's  point  of  view,  a  flying  dragon,  of  pre-Adamite  days,  would  still  seem 
weirdly  beautiful  in  its  dramatic  adaptations  and  personifications  of  primaeval  conditions  and  forces  ;  and 
it  is  doubtless  these  biological  influences,  in  oriental  brain  itself,  which  makes  them  still  wring  such 
decorative  splendor  out  of  such  primitive  agents,  while  to  man  advanced  and  humanized  such  types 
become  obsolete. 

David  had  intimated  this  same  thought  in  the  continuation  of  the  above  stanza  where  he  adds  : 

"  Though  I  make  my  bed  in  hell 
Behold  Thou  art  there  ? " 

Thus  with  humility  and  wonder  combined  with  strange  courage  we  dare  to  press  on  through  the 
uplifting  veil  of  mystery  and  glory  which  surrounds  our  little  globe,  knowing  in  some  intuitive  way,  that 
the  very  blemish  of  the  imperfect  leaf  but  reveals  the  clearer  the  elements  of  perfection  in  the  complete 
one  (if  only  by  contrast  or  opposition),  and  the  repulsion  we  feel  from  ugliness  becomes  the  measure  of 
our  affinity  for  The  Beautiful. 

It  IS  intensely  interesting,  therefore,  to  note  at  the  outset,  how  persistently  and  universally,  in  all 
departments  of  ennobled  human  life,  this  Immortal  Presence  and  Its  Principles  loom  in  upon  the 
Consciousness  of  the  grandest  characters  and  workers,  as  the  wellspring  ot  their  inspiration,  their 
influence,  and  their  power. 

The  Roman  Philosopher,  Seneca,  exclaims  : 

"  If  any  one  gave  you  a  few  acres,  or  a  house  bright  with  marble,  its  roof  beautifully  painted  with 
colors  and  gilding,  you  would  call  it  no  small  benefit !  Can  you  deny  the  benefit  of  the  boundless  extent 
of  Earth  ?  God  has  built  for  you  a  mansion  that  fears  no  fire,  covered  with  a  roof  that  variously  glitters 
by  day  or  night ;  we  have  implanted  in  us  The  Seed  of  All  the  Ages — All  the  Arts  !  And  God  our 
master  leads  forth  our  intellects  from  obscurity." 

The  eminent  Scientist  Lubbock  similarly  writes  : 

"  The  world  we  live  in  is  a  Fairy  Land  of  exquisite  Beauty  !  Our  very  existence  is  a  miracle  in 
itself,  yet  few  of  us  enjoy  and  none  appreciate  fully,  the  beauties  and  wonders  which  surround  us.  Nature 
loves  those  who  love  her,  and  richly  will  reward  them  with  the  best  things  of  this  world — bright  and 
happy  thoughts,  contentment  and  peace  of  mind." 

The  Poet  Wordsworth,  kindling  to  the  same  truth,  says  : 
"   *  *  *     Nature  never  did  betray 
The  heart  that  loved  her — 'tis  her  privilege 
Through  all  the  years  of  this  our  life,  to  lead 


From  joy  to  joy  :  for  she  can  so  inform 

The  mind  that  is  within  us,  so  impress 

With  quietness  of  Beauty  and  so  feed 

With  lofty  thoughts,  that  neither  evil  tongues, 

Rash  judgments,  nor  the  sneers  of  selfish  men, 

Nor  greetings  where  no  kindness  is,  nor  all 

The  dreary  intercourse  of  life 

Shall  e'er  prevail  against  us,  nor  disturb 

Our  cheerful  faith  that  all  which  we  behold 

Is  full  of  blessings. 

To  ewevy  form  of  being  is  assigned 

An  Active  Principle  howsoe'er  removed 

From  sight  and  observation.     It  subsists 

In  all  things,  in  all  natures,  in  the  stars 

Of  azure  heaven,  in. the  pebbly  stone. 

In  moving  waters  and  the  invisible  air  ! 

Spirit  that  knows  no  isolated  spot, 

No  chasm,  no  solitude — from  link  to  link 

It  circulates  The  Soul  of  All  the  World." 


Goethe  says  :  . 

"  Nature  is  the  living  visible  garment  of  God.  There  is  no  trifling  with  her.  She  is  always  true, 
grave,  severe,  always  in  the  right.  The  faults  and  errors  are  ours.  She  defies  incompetency,  but  reveals 
Her  secrets  to  the  competent,  the  truthful,  the  pure."  . 

Juvanel  exclaims  :  "Nature  and  wisdom  always  say  the  same  thing;" 
which  Gallileo  echoes  in  the  idea,  "  The  laws  of  .nature  are  the  thoughts  of  God  ; "  and 
Cowper  clarifies  by,  "Nature  is  but  a  name,  for  an  effect  whose  cause  is  God."  Novalis, 
hearing  the  Universal  Spirit  tenderly  singing,  adds :  "  Nature  is  an  ^Aeolian  Harp,  a  musical 
instrument  whose  tones  are  the  re-echo  of  higher  strings  within  us."  And  Percival  enthusiasti- 
cally cries:  "The  world  is  full  of  Poetry!  The  air  is  living  with  its  Spirit!  The  waves  dance 
to  the  music  of  its  melodies  and  sparkle  to  its  brightness."  And  Richter,  more  exquisitely  still,  insists  : 
"  There  are  so  many  tender  and  holy  emotions  flying  about  in  the  inward  world,  which  like  angels  can  never 
assume  the  body  of  an  outward  act,  so  many  rich  and  lovely  flowers  spring  up  that  bear  no  seed,  that  it  is 
a  happiness  that  Poetry  was  invented,  which  receives  all  these  spirits,  the  perfume  of  all  these  flowers  !  " 

Here  we  note  that  this  sensitiveness  of  spiritual  ear,  this  "  open  vision  "  is  caught  up  and  given  the 
name  of  Poetry,  by  him  whose  art  is  Rhythm.  But  it  runs  synonomously  through  all  the  arts,  for  Fuller 
writes  : 

"  Poetry  is  music  in  words.     Music  is  poetry  in  sound." 

Macaulay  puts  it : 

"  Poetry  is  the  art  of  doing  by  words  what. the  painter  does  by  colors." 

Chapin  seeing  it  in  the  sincerities  of  heart  says  . 

"  Poetry  is  the  utterance  of  deep  and  heartfelt  Truth.    The  poet  is  very  near  the  oracle." 

Along  which  conviction  Joubert  felt  when  he  wrote  : 

"You  arrive  at  Truth  through  poetry,  I  arrive  at  Poetry  through  truth."  And  Plato  when  he 
adds  : 

"Poetry  comes  nearer  Truth  than  history  !  " 

Totheunityof  all  these  with  the  Good  and  the  Beautiful,  Coleridge  evidently  refers  in  his  confession  : 

"  Poetry  has  been  to  me  its  own  exceeding  great  reward.  It  has  given  me  the  habit  of  wishing  to 
discover  the  Good  and  Beautiful  in  all  that  surrounds  me."  While  Bailey  adds  to  its  comprehensiveness 
that  spirit  of  sacred  communion  and  inspiration  that  gives  the  final  spark,  the  sacred  flamma,  which  is  the 
evidence  of  a  Living  Power  : 

"  Poetry  is  a  thing  of  God!  He  made  His  prophets  poets.  The  more  we  feel  of  Poesie  the  more 
we  become  like  God  in  Love  and  Power." 

Thus  we  are  driven  with  philosopher,  poet,  priest,  musician,  painter,  sculptor,  architect,  and  even 
with  the  humblest  human  heart — (for  Andre  claims  "  Every  man  that  suffers  is  a  poet !  Every  tear  a 
verse!     Every  heart  a  poem  !")  into  the  inner  penetralia  where  Spirit  Universal  dwells,  and  recognize 


that  out  of  a  Central  Sun  there  radiates  a  light  whose  rays  and  colors  are  variously  baptized  by  man,  but 
whose  Inner  Essence  is  ever  One  and  harmonious  ;  portals  to  the  same  Celestial  City  ;  facets  of  the  same 
Celestial  Diamond. 

It  is  when  the  soul  becomes  conscious  of  the  harmonic  nature  of  any  thought,  wish  or  act,  with  those 
that  flame  and  burn  at  the  Central  Heart  of  The  Universe,  or  when  the  mind  grasps  the  symphonic  prog- 
ress of  these  movements  along  the  same  vital  and  Spiritual  Principle,  guiding  the  whole  ;  or  when  the  eye  _ 
beholds  their  living  presence  in  the  perfection  of  any  constructed  forms,  sounds,  colors,  &c. ;  that  the  de- 
light experienced  by  sensitive  and  wholesome  characters  is  given  the  name  of  Beauty. 

It  is  probable,  also,  that  whatever  sensitizes  the  soul  on  one  side  toward  Beauty,  may  attune  it  so 
much  the  more  delicately  to  its  "voices"  whispering  upon  another.  And  possible  that  it  is  passed  as  a 
benediction  to  families  or  races  that  receive  its  commission.  Though  even  then  a  spiritual  affinity  seems 
predicated,  and  I  believe  it  will  be  found  more  generally  a  transmission  from  spirit  to  s'pirit  whenever 
responsive  chords  are  touched  and  mystic  connections  are  opened. 

Ruskin  remarks  : 

"There  is  no  branch  of  human  work  whose  constant  laws  have  not  a  close  analogy  with  those  that 
govern  every  other  mode  of  man's  exertion.  Exactly  as  we  reduce  to  greater  simplicity  and  surety  any 
one  group  of  these  practical  laws  we  find  them  passing  analogy  and  becoming  the  actual  expression  of 
some  ultimate  nerve  ov  fibre  of  the  mighty  laws  that  govern  the  moral  world.  However  inconsiderable  the 
act,  there  is  something  m  the  well  doing  of  it  allied  to  the  noblest  forms  of  manly  virtue.  The  Truth, 
Decision,  Temperance,  we  regard  as  honorable  conditions  of  spiritual  being,  have  a  derivative  influence 
over  the  works  of  hand  and  action  of  intellect." 

In  similar  recognition  of  this  underlying  vital  harmony,  Lafcadio  Hearn  writes  (on  Greek  sculpture): 
"  The  nudity  which  is  divine,  which  is  the  abstract  of  Beauty  Absolute  gives  the  beholder  a  shock  of 
astonishment  and  delight  not  unmixed  with  melancholy.  The  longer  one  looks,  the  more  the  wonder 
grows,  since  there  appears  qo  line,  whose  beauty  does  not  pass  all  remembrance.  So  the  secret  of  such  art, 
was  long  thought  super  natural,  and  in  verytijuth,  the  sense  of  Beauty  it  communicates  is  more  than  human. 
It  resembles  the  first  shock  of  Love  !  Plato  explained  the  shock  of  Beauty  as  the  soul's  sudden  half  remem- 
brance of  The  World  of  Divine  Ideas.  The  human  ideal,  expressed  in  such  art,  appeals  surely  to  the 
experience  of  all  that  past  enshrined  in  The  Emotional  Life." 

Haegel  in  his  ^^^sthetik  adds  : 

"  Art  fulfils  its  highest  mission  when  it  has  thus  established  itself  with  Religion  and  Philosophy  in 
The  One  Circle  common  to  All,  and  is  merely  a  method  of  revealing  The  Godlike  to  man  ;  of  giving  • 
utterance  to  the  deepest  interests,  the  most  comprehensive  truths. 

In  works  of  art,  nations  have  deposited  the  most  holy,  richest,  intensest  of  their  ideas,  and  for  the 
understanding  of  the  philosophy  and  religion  of  a  nation,  art  is  mostly  the  only  key  we  can  attain." 

To  this  Max  Miiller  points  out  that  "  What  we  call  Religion  would  never  have  sprung  from  fear 
alone.  Religion  is  Trust,  and  that  trust  arose  in  the  beginning  from  the  impressions  made  on  the  mind 
and  heart  of  man  by  The  Order  and  Wisdom  of  Nature ;  and  particularly  by  thoSe  regularly  recurrent 
events,  the  return  of  the  sun,  the  revival  ot  the  moon,  the  order  of  seasons,  the  law  of  cause  and  effect, 
gradually  discovered  in  all  things  and  traced  back,  in  the  end,  to  A  Cause  of  causes." 

"The  ancient  religions  are  symbols,"  says  Crane,  "of  the  Forces  of  Nature  evolved  from,  perhaps 
some  common  type  through  endless  modifications — a  natural  mythology  common  to  all.  Religion  trans- 
formed becomes  poetry.  Heroic  shapes  personify  psychical  and  moral  forces ;  lesser  personalities  are 
rolled  into  greater  ;  greater  are  lost  in  types  ;  events  are  generalized.  The  image  of  past  experience  of  the 
race,  upon  the  general  mind,  becomes  generic  like  that  ot  visual  impressions  in  the  individual.  It  is  the 
natural  tendency  of  the  human  mind  which  gives  figurative  art  its  importance.  Expression  is  the  clay  on 
which  it  works  ;  imagination  is  the  creative  force  ;  a  sense  of  Beauty  its  controlling  Power.  In  the  nat- 
ural world  we  find  constructive  strength  united  with  Beauty  and  fitness  governed  by  adaptability  to  cir- 
cumstance. Structural  necessities  lend  themselves  naturally  to  Design  a,nd  are  universally  pleasing.  Both 
in  life  and  art,  Beauty  is  not  something  accidental.  It  is  an  organic  thing,  having  its  own  laws,  its  own 
logical  causes  and  consequences.  It  is  A  Living  Force,  A  Living  Presence,  and  therefore  ever  varying 
in  its  forms,  as  we  follow  it  down  this  stream  ot  time  and  mark  its  habitation  from  age  to  age. 

"The  delight  of  Beauty,  be  it  human  or  wild,  of  light,  color,  form  or  sound,  is  a  common  possession 
and  necessity  of  life,  as  in  the  higher  sense  it  must  be,  so  long  as  the  human  has  claim  to  be  the  higher 
animal.  Certain  birds  and  animals  have  been  proved  to  be  sensitive  to  certain  colors  and  decorative 
effects,  which  sensibility  is  wrapped  xip  with  the  very  fact  of  germination  and  continuity  of  life  itself  ;  and 
this  convinces  us  how  far  down  and  deeply  rooted  is  this  sense  in  Nature,  which  has  been  so  highly  special- 
ized in  man.  Cultivated  or  uncultivated,  modified  by  centuries,  influenced  by  modes  of  thought  and  con- 
ditions of  life,  it  flowers  anew  !     Art  is  the  language  of  this  Universal  Feeling." 

Finally,  in  arranging  our  conception  and  study  of  Beauty  and  its  arts,  within  that  " One  Circle" 


of  thought,  which  is  symbolic  of  the  soul's  outlook  on  Life,  we  may  summarize  all  the  preceding  by  the 
tenet  of  Delsarte  : 

"The  object  of  Art  is  to  crystalize  Emotion  into  Thought  and  then  fix  it  in  Form,"  or,  taking  the 
finer  simile  of  Christ,  who  always  taught  "by  parables"  {i.e.,  artistic  symbols),  Art  is  the  miraculous  trans- 
formation of  the  pure  "water"  of  Truth  into  the  warm  "wine"  of  Love,  or  emotion,  and  making  it  play 
and  sparkle  through  the  varied  facets  of  the  crystal  goblet  of  Grace.  Inspiration  and  Charm,  in  which  each 
Pentecostal  beholder  receives  it  through  "his  own  language  "and  personality,  but  by  the  same  Principles 
and  Method  of  Eternal  Beauty." 

The  Divine  iNature  seems  to  possess  Primordeal  Attributes  of  Law,  Love  and  Grace,  which  in  the 
experience  of  life  become  Truth,  Goodness  and  Beauty  ;  and  in  the  cultures  of  man  become  Science, 
Religion  and  Art;  and  in  the  personal  character  become  Good  Judgment,  Good  Will  and  Good  Taste — the 
practical  virtues. 

It  is  these  Relations,  mainly,  which  it  is  our  province  to  examine  ;  and  the  vital  Principles  and 
Methods  by  which  they  attain  artistic  Expression  which  we  should  teach.  For  this  the  book  is  specially 
written. 

"  The  ignorant,"  says  Quintillian,  "may  enjoy  Beauty,  but  the  educated  understand  the  Reason  for 
the  enjoyment,"  and  (we  might  add)  thereby  secure  the  Light  to  enjoy  it  rightly,  in  harmony  and  sympathy 
of  will  with  its  creator. 

"What  we  understand  by  The  Kingdom  of  God,"  says  Giles,  "are  The  Principles  in  their  forms, 
modes  of  action  and  mutual  relations,  just  as  we  speak  of  the  mineral,  vegetable  and  animal  kingdoms. 
The  vegetable  kingdom  is  something  more  than  the  aggregate  of  all  plants.  It  consists  in  The  Principles, 
Laws  and  Forms  of  vegetable  growth.  So  The  Kingdom  of  God  is  not  a  mere  collection  of  men  and 
women,  but  comprises  All  the  Elements  of  The  Divine  Nature." 

"  A  Principle  thrown  into  a  good  mind,"  says  Pascal,  " fruits  as  a  grain  thrown  into  good  soil.  Every- 
thing is  created  and  conducted  by  the  same  Master — the  root,  the  branch,  the  fruit — The  Principles,  the 
Consequences." 

And  Miiller  closes  the  thought  for  us  in  these  words  : 

"We  ought  to  know  How  we  have  come  to  be  what  we  are  that  we  may  advance  to  higher  attain- 
ment. Not  to  know  what  precedes  is  to  care  little  for  what  succeeds.  Life  would  be  a  chain  of  sand 
instead  of  An  Electric  Chain  that  makes  our  hearts  tremble  and  vibrate  with  the  most  ancient  thoughts  of 
the  past,  as  the  most  distant  hopes  of  the  future.  We  are  what  we  are  by  the  toil  of  intellectual  ancestors. 
We  know  now  there  are  Stages  of  Growth  not  determined  by  accidental  environment  only,  but  by  Original 
Purpose,  to  be  realized  in  the  history  of  the  human  race  as  a  Whole." 


T 


URNING  therefore,  now,  to  our  symbolic  Circle  Chart,  the  necessity  is  evident  for  our  locating  The 
Spirit  of  Life,  as  the  origin  of  volition  and  motion,  at  the  Centre  of  the  soul's  horizon,  and  dividing 
the  scope  ot  our  vision  into  Three  Main  Segments,  like  the  facets  of  a  crystal  prism.  If  only  in 
pictorial  outline,  it  is  appropriate  to  recognize  at  the  outset  Three  Main  Relations  of  thought  and  experi- 
,  ence  which  have  primordially  urged  forward  man  in  the  progress  of  his  civilization.  As  artists,  we  may 
prefer  the  third  and  last  section  as  we  prefer  the  fragrance  of  a  blossom  above  its  branch  or  root,  but  it 
is  advantageous  to  sketch  these  lightly  in  as  its  "setting."  The  Kingdom  of  Art,  like  "the  Kingdom  of 
Heaven,"  of  which  it  is  a  part,  maybe  symbolized  by  the  same  "grain  of  wheat  that  was  planted" 
and  grew  ; 

"  First,  The  Blade  "  (or  constructional  support). 

"Then,  The  Ear"  (or  maternal  environing  sheath). 

"  Then,  The  Full  Corn  "  (or  glorious  fruition  of  vital  Food). 
God  Himself,  because  He  is  an  Artist,  employs  suggestive  and  symbolic  methods.  '  "  Without  para- 
bles (symbolic  stories)  Christ  taughl  not  at  all"  declares  Holy  Writ.  The  veil  of  the  Temple  was  indeed 
a  symbol  of  his  primal  mysteries,  which  by  His  own  inspirations  and  permission,  time  is  gradually  raising 
to  reverential  eyes.  Had  all  been  told  at  start,  had  all  knowledge  been  final,  that  very  finality  might  have 
stilled  growth  and  dulled  ambition.  The  mists  of  human  limitation  hide  the  mountain  of  God's  glory  but 
appropiately  enhance  thereby  its  splendor  and  spirituality.  The  Deity  is  a  poet  and  artist  throughout  His 
work,  and  we  must  look  for  Him  in  the  same  spirit  or  we  may  not  find  Him  (though  "  not  tar  from  every 
one  of  us").  To  the  literalist  and  materialist  fumbling  with  the  mere  atoms  of  the  ink  and  recognizing  no 
Mind  behind.  He  comes  with  rod  of  confusion  and  perturbation.  But  to  the  loving  child  whose  sensitive 
intuition  reads  between  the  lines  the  implications  of  the  Fathers  soul.  He  comes  in  Glory  and  Benediction! 
"All  Nature,"  says  Chapin,  "  is  a  vast  Symbolism!     Every  material  fact  sheathes  a  spiritual  truth." 

"Passions,  seasons,  senses,"  says  Crane,  "virtues,  vices,  life  and  death  itself — all  belong  to  Allegory, 
continually  reappear  in  newer  shapes,  being  by  nature  so  protean  no  form  may  hold  them."  "Nature," 
says  Emerson,  "  is  too  thin  a  screen.  The  Glory  of  The  One  breaks  through  everywhere  "  ! 

In  the  First  Section  of  our  Circle  Chart  we  locate  that  Intuitive  Region  which  belongs  to  the  per- 


EVOLUTION    IN    ART. 


I 


Nature's  Triune  Manifestations. 


isT.    Abstract  Truth  in  Spiritual  Ideals,  Relations  and  Volitions. 

2ND.   Concrete  Good  in  progressive,  transitional,  material  Embodiments. 

3RD.   Eternal  Beauty  in  Perfected  Purposes  and  Revealed  Vital  Principles. 


1st 

2d 

3d 
4th 


Spirit  of  Nature 


SUBJECTS  OF  STUDV. 


AS 


(In   which   she    ACTS.) 

Principles  of  Nature         c   " 

(By 


MANIFESTS.) 


Laws  of  Nature 


Methods  of  Nature 


( 


LIMITS   Her  vEsthetic   Action;^ 
EMPLOYS  IN  Her  "  "       ) 


\ 


Originality. 

Individuality. 
Freshness-in-Faniiliarity. 
Simplicity-in-Complexity. 
Variety  in  Equipoise  and  Unity. 
Spirituality,  Ideality,  Poetry. 
Mystery,  Suggest iven ess,  Promise. 
Aspiration.   Inspiration,   Self-Revela- 
tion. 


Vitality,  Knergy,  Daring,  Sublimity. 

Restfulness,  Stability,  Serenity,  Self- 
Respect. 

Care,  Temperance,  Freedom- Wise. 

Patience,  Endurance,  Ruggedness, 
Discipline. 

Truth,  Frankness,  Openness. 

Scope,  Universality,  Generosity,  Rich- 
ness. 

Fullness,  Completeness,  Finish. 

Taste,  Refinement,  Purity. 

Delicacy,  Grace,  Charm. 

Joy,  Play,  Sparkle,  Brilliancy. 
Felicity,  Facility,  Fertility,  Variety. 
Immortality,  Goodwill,  F'urthcrance. 
Sympathy,  Beauty,  Perfection. 


Pkr-ception.  In-sight. 

Purpose,  Forethought,  Plan  Arrange- 
ment. 

Conservation,  Transmission,  Progres- 
sion. 

Unity,  Order,  Regularity. 

Equality,  Equipoise  or  Balance. 

Dominance,  Subordination, Co-ordina- 
tion. 

Selection,  Rejection,  Control. 

Emphasis,  Proportion,  Symmetry. 

Gradation,  Crescendo,  Cadence. 

Hapnony,  Co-operation,  Accommoda- 
tion. 

Discretion.  Propriety,  Fitness. 
Consistency.  Adaptation. 

Conformity.  Flexibility. 

Congruity.  Sensitiveness. 

Reasonableness,  Naturalness,  Whole- 

someness. 
Wisdom,  Utility,  Efficiency,  Economy. 
Sincerity,  Genuineness,  Honesty. 
Clarity.  Decision,  Definiteness. 

Embellishment,  Fascination. 
Fruition,  Achievment. 

Sustained  Pleasure. 


LIMITATION  AND  CONDITION 


Space, 

Length. 
Breadth. 
Thickness. 


Time. 
Sequence. 


Force- 


Im- 
Re- 


Knergy — Volition. 
Static. 
"Dynamic. 
Tendency — Action 
and  Reaction. 
Pulsation — Rhythm. 


Motion- 


Opposition. 

Tension. 

Contrast. 

Competition. 

Equilibrium. 

Co-operation. 

Co-ordination 

Organization. 

Growth. 

Persistence. 

Reproduction. 

Reconstruct' n 


Directness. 

Angularity. 

Repetition, 

Continuity. 

Extension. 

Progression. 

Procession. 

Revolution. 

Evolution. 

Expansion. 

Dispersion. 


straight. 

Oblique. 

Rectangular. 

Parallel. 

Curved. 

Undulate. 

Circular. 

Cyliudric. 

Conic. 

Ovate. 

Elliptical. 

Parabolic, 

Hyperbolic. 

Spiral. 

Tangential. 

Radial,  etc. 


f  In-tegration. 
Transformation  <  Dis-integration. 
V  Re-integration. 


FORMULA.— FOR  M . 

St  ructu  re— Fu  nctio  n . 
System— Skill. 


Relation. — Scale-R  &,tjo. 


Numeric. 

Quantitative. 

Metric,  Geometric 

Distributive. 

Formal. 

Dynamic. 

Structural. 

Functional. 

Vital. 

Intellectual. 

Emotional. 


5th        Spirit  of  History.  its   limitations.  methods  and  styles.        Character. 


Repetition. 

Mechanicalizing. 

Parallelism. 

Conventionalizing. 

Series  1  Lineal. 
(  Plane. 

Literalizing. 

Individualizing. 

Reflection. 

Generalizing. 

Contrast. 

Symbolizing. 

Alternation. 

Idealizing. 

Counterchange. 

( -scribing. 

Juncture. 

Trans-  -j  -lating. 

Overlapping. 

(.  -muting. 

Interlacing. 

Linking,  Looping. 

Cabeling. 

Strapping. 

Interpenetration. 

Fusion,  etc 

Media. 

SUGGESTIVENESS. 


6th   ■  spirit  of  the  Present. 


Its   Limitations,    Methods,    Styles,    Character. 


Media. 
Suggestiveness. 


7th     Spirit  of  Special  Technical  Media. 


Character.        Limitations.       Processes. 

Suggestiveness — 

Laws  of  LIGHT  and  COLOR. 

Limitations— OPTICA  u. 


soiial  consciousness  of  Individual  Soul — at  the  origin  of  its  spiritual,  invisible, — yet  rational  and  volitiorial 
Being  where  it  is  Otte  wit/i  its  Father  God. 

In  the  Second  Section,  of  our  Circle  Chart,  we  find  that  Region  of  Natural  Evolution  by  which 
terrestrial  environment  has  been  prepared  by  Spirit  for  Its  self-expression  through  forms  of  life. 

In  the  Third  Section  of  our  Circle  Chart  we  discover  the  Spirit  in  man  unfolding,  at  the  head  of 
organic  nature;  and  alone,  at  last,  researching  the  records  of  Divine  Advance,  in  Reverent  Communion 
with  The  Creator,  for  the  Spiritual  Principles  and  Purposes  directing  the  Progression. 

The  First,  is  the  realm  of  Ideal  Relations,  Abstract  Truths  and  Primal  Volitions  which  seem  to  be 
the  Source  of  force  itself. 

The  Second,  is  the  Concrete  material  embodiments  and  transitional  phases  of  those  volitions,  termed 
natural  phenomena  about  us. 

The  Third  is  the  Realm  of  Reflection,  Discernment,  Deduction,  among  the  steadily  uncovered  plans 
and  perfected  purposes  which  reveal  to  us  the  Principles  and  Methods  0/ Beauty. 

"  A  true  work  of  Art  is  a  refiex  of  Divine  Perfections  "  said  Michael  Angelo. 

We  also  give  at  this  point,  a  full  page  plate  of 

THE  SUBJECTS  FOR  STUDY 

classified  in  the  order  of  their  importance,  and  of  their  intellectual  relations,  as  a  birds  eye  view  of  the 
mental  field  concerned;  though  for  consistency  with  nature's  sequences  in  growth  of  mind  (individual  and 
racial)  we  will  try  to  unfold  the  theme  logically  "from  roots  to  fruits." 

Man's  earliest,  as  well  as  latest  visions  of  "  The  Celestial  City  "  of  Truth,  show  us  figuratively  what 
Science  now  makes  fact — "A  Tree  of  Life"  growing  (organically  developing)  "  in  the  midst  of  the  Garden 
of  God,"  and  "A  River  of  Life"  flowing  (by  ro«/z'««2Xy  of  progress)  from  "The  Throne  " — the  leaves  or 
waves  whereof  are  "for  the  healing  of  the  nations." 

And  this  emblem  of  Order  and  natural  "  growth  "  in  thought  we  will  regard — according  to  St. 
Paul's  Law  that  "That  is  not  first  which  is  spiritual,  but  natural ;  then  afterward  that  which  is  spiritual." 

"  A  mental  elifloressence  "  (or  flowering)  says  Crane  "  springs  from  life's  rough  way  which  in  words, 
become  figurative  speech  or  rises  to  poetry,  but  in  design  become  emblem  and  allegory." 

We  also  give  each  step  or  lesson  in  Compact  Summary,  or  outline,  with  diagramatic  helps  and  appro- 
priate illustrations,  that  student  or  teacher  may  hold  the  Unity  of  the  theme  conveniently  in  mind,  and  the 
harmony  of  the  whole,  while  stimulated  freely  to  fill  in  from  his  own  reflection  and  experience,  the  inter- 
spaces of  thought  which  are  intentionally  made  suggestive  and  vital,  rather  than  "  set  "  or  "final." 

Referring  now  to  The  First  Third  of  our  Circle  Chart,  where  an  index  finger  points  our  beginning, 
we  recognize  within  man's  self  conscious  spirit  the  first  roots  or  foundations  for  constructing  beauty  and 
defining  art  as  false  or  true.  For  the  animals  below  him,  in  the  presence  of  the  same  Nature,  could  not  so 
discriminate. 

His  primitive  groping  was  doubtless  long  upon  the  same  plane  with  them,  in  animal  sensations  of 
delight  in  outward  Nature,  for  his  primitive  weapons  and  ornaments  so  indicate.  But  the  idealistic  and 
imaginative  faculties,  even  then,  show  themselves  early  under  way  in  novel  combinations  and  forms,  dis- 
crete selections  of  barbaric  but  harmonic  colors  and  nature  adaptations.  The  spiritual  faculties  which 
divided  the  lowest  savage  from  the  highest  brute  soon  created  and  diffused  through  his  art  efforts  a  con- 
sciousness of  Spiritual  Cause  dimly  divined  and  rudely  grotesqued  of  course,  but  sincerely  worshiped  in 
the  detected  Principles  of  Order  and  Repetition  by  rhythmic  dance,  mystic  fetish,  ornamental  totems, 
etc.,  derived  more  or  less  directly  from  natural  suggestions  and  demonstrations  in  recurring  seasons, 
planetary  phases  or  withdrawals,  and  the  myriads  of  natural  decorative  motives.  He  made  keen  con- 
jectures into  primal  Type  Forms,  from  which  he  must  have  suspected  the  familiar  forms  about  him  were 
derived,  for  he  worshiped  them  as  "Sacred,"  and  incorporated  them  into  his  charms  (veritable  forecasts 
of  coming  Science).  Then  in  time  his  military,  domestic,  and  sacerdotalimplements  became  alive  with 
artistic  struggles  to  embody  ideas  of  Proportion,  Fitness,  Adaptation,  Harmony  (both  of  design  and  color) 
stamped  clearly  with  Originality  and  conscious  Individuality  controlled  by  Generalization.  Good  Archeo- 
logical  Museums  abound  in  examples  of  these  brave  and  impressive  efforts. 

However  primitive  our  ancestors,  we  must  not  consider  them  less  sensible  or  less  "  sensitive  "  merely 
because  less  "informed"  than  modern  times.  They  seem  to  have  frequently  made  up  by  integrity  direct- 
ness and  zeal  of  observation,  for  lack  of  art  tradition ;  and  at  last  to  have  attained  by  simplicity  and  grandeur 
of  style,  some  art  expressions  among  primal  forms,  which  are  at  once  the  sublimest  and  earliest  among 
classic  embodiments.  On  the  plains  of  Nineveh,  Egypt,  and  India,  by  stupendous  pyramids,  temples,  rock- 
hewn  corridors,  and  gigantic  gods,  they  strove  to  portray  their  intuitions  of  Deity,  as  hifinite  !  Eternal ! 
Sublime  I 


Where  do  we  find  anything  more  weirdly  original,  artistic,  and  expressive  of  vast  though  slumbering 
power,  than  the  mighty  Sphinx  ?  Symbol  of  wisdom  and  patient  strength, silently  contemplative,  controlled 
by  Intelligence,  peering  through  eternal  Time  across  infinite  space,  and  over  the  endless  sands  of  life! 

Or  has  any  conception  of  artist  imagination  and  toil  attained  more  overwhelming  grandeur  than  the 
Three  Awesome  Pyramids  themselves,  that  flank  the  sphinx,  and  look  down  from  forty  centuries  upon  the 
withering  dynasties  of  Man  ?  Poised  immovably  upon  massive  Basal  Squares  and  presenting  to  posterity 
the  clear  cut  edges  of  an  eternal  Triangle,  they  seem  to  have  been  the  symbol  of  an  immortal  "  Trinity  " 
they  felt  to  be  in  "  God." 

We  find,  too,  in  these  early  people,  marvellous  insight  into  the  abstract  Geometric  Relations  which 
are  the  roots  of  all  form  arf'generation,  and  the  very  soul  of  the  wonderful  Oriental  ornament.  We  find 
amazing  powers  of  Plan,  construction,  mechanical  application  of  force  to  vast  masses,  for  artistic  effects 
of  great  dignity,  and  durability,  approaching  Nature  herself  in  grandeur  of  style. 

When  we  behold  the  marvellously  cut  and  superposed  plinths  and  columns  of  Egypt  and  Chaldea, 
piled  in  imposing  splendor  upon  the  valley  of  Nile  and  Euphrates,  or  some  graceful  Greek  temple  crown- 
ing an  Acropolis,  we  do  not  know  which  to  admire  most,  the  gems  of  genius  in  the  brain  of  man,  or 
the  setting  provided  them  by  the  brain  of  Nature.  The  human  art  has  something  in  it  of  the  primeval 
majesty  we  find  in  the  natural  art  of  mountain  or  "  Enchanted  Mesa." 

Says  Ex-President  Hill  of  Harvard:  "Particles  of  matter  take  i^^rw  in  obedience  to  Force  2,Q.Wr\g 
according  to  Intellectual  Law.  Natural  symmetry  leads  men  first  to  investigate  the  Mathematical  Law 
which  it  embodies,  then  the  Mechanical  Law  which  embodies  it.  Thus  all  the  benefits  of  our  race,  from 
the  discovery  of  the  keys  of  physical  science,  were  bestowed  through  suggestions  of  Geometric  Thought, 
in  outward  creation." 

We  shall  see  also  that  the  consideration  of  Dynamics,  or  the  mere  tendencies  and  distributions  of 
Force  (whether  "  active  "  or  "  static,"  actual  or  only  "  implied  "),  become  of  highest  importance  in  Esthetic 
effects,  and  these  were  early  felt  and  utilized  with  impressive  power. 

Every  one  is  familiar  with  Nature's  clever  decorative  suggestions  of  these  in  towering  pines,  combing 
breakers,  flowing  manes  or  tails  of  dashing  steeds,  bristling  lions,  etc.  We  have  been  delighted  by  brilliant 
Japanese  designs  caught  from  suggestions  of  running  water  drifting  clouds  hurtling  rain  and  hail,  eddying 
leaves  and  flying  fowl.     (See  Charts  XVII  and  XXXIV.) 

And  when  we  come  to  graceful  spans  of  springing  bridges,  groined  arches,  or  climbing  turrets  of 
cathedral  towers,  seeming  to  scale  heaven's  gates,  we  recognize  the  artistic  value  of  implied  motion  in 
giving  esthetic  charm. 

It  is  for  this  reason,  that  in  drawing  the  human  figure  (as  in  Chart  XXIV),  it  is  of  highest  import- 
ance to  express  fully  and  freely  the  general  motions  and  tendencies  of  the  figure  and  its  members  before 
developing  forms  and  details.  Especially  should  we  remark  the  highly  significant  Tendency  of  Organic 
growths  to  develop  expansively  "  from  Right,  to  Round,  to  Radiate  "  Relations,  as  in  the  unfolding  of  a 
closed  hand,  or  the  spreading  of  a  fan.     (See  Chart  XIV,  a.) 

In  the  Second  Third  of  The  Circle  Chart  we  have  a  vast  realm  (lately  correlated  by  physical  science) 
which  we  briefly  and  compactly  suggest,  merely,  in  diagramatic  summary,  but  in  the  natural  ascending 
order  of  life,  that  the  practical  art  work  of  Nature  may  be  seen  to  give  the  premonitions,  to  Brain,  of  Vital 
Principles,  which  it  will  reapply  in  human  art.  It  is  also  explanatory  of  the  delight  experienced  and 
imparted  thereby  when  identical  elements  are  readjusted  to  express  those  principles. 

It  was  this  section  of  physical  and  biological  creation,  before  the  advent  of  man,  that  Moses  may 
have  seen  in  vision  so  long  ago,  when  he  exclaimed,  "God  saw  everything  that  He  had  made,  and  behold  it 
was  very  Good" — because  man  would  first  employ  that  term  to  cover  the  wise  provisions  for  his  physical 
well-being  which  that  section  displays. 

In  it  we  are  able  to  catch  some  glance  (pictorially)  of  the  Order  and  splendor  of  advancing  Mind 
and  Purpose,  generating  artistic  Form,  up  from  unstable  volume  and  shape  in  gasses,  to  stable  volume 
but  unstable  shape  in  liquids,  up  to  stable  volume  and  form  in  solid  substances. 

Thence  to  the  higher  qualities  imparted  to  substance  by  advanced  mobilities  and  distributions, 
reflected  through  nobler  biological  forms  and  kingdoms  of  life — through  mineral,  vegetable,  and  animal 
relations  and  the  refining  functions  of  accretion,  nutrition,  locomotion,  sensation,  and  reproduction, 
geologically  recorded.  Till  fascinating  Character  and  Individuality  begin  to  appear  in  the  beauties  of 
Morphology  and  Natural  History  where  crystals  graduate  unto  glorious  "  gems " ;  vegetation  grows 
resplendent  with  perfecting  fruit  and  flora  ;  and  animal  life  mounts  by  steps  of  brain  perfecting  to  loftier 
functions  and  utilities.  Then  finally  we  behold  the  form  of  man  appear,  condensing  into  greater  splendor 
of  harmonic  adjustment  the  lightnes.s,  grace,  strength  and  elegance  of  all,  preceding,  and  reigning  over  all 
with  resplendent  Reason,  Reflection  and  Genius.  Capable  at  last  of  reviewing  the  past,  appreciating  his 
Creator,  and  though  a  "  little  lower  than  the  angels  "  crowned  with  the  glory  and  honor  of  Reverence, 
Comprehension  and  Inspiration  ! 

In  the  Third  and  Last  Section  of  the  Circle  Chart  we  can  note  this  "genius  "  in  the  soul  of  man 


(and  even  premonitions  of  it  in  his  animal  friends)  modifying  their  own  forms  and  the  forms  of  their 
environment,  voluntarily  and  constructively,  to  give  expression  to  specific  need  and  new  individualities  or 
ideals.  We  have  witnessed  the  Art  of  The  Creator,  we  then  witness  the  art  of  the  Creature.  Mollusks 
unrolling  and  decorating  their  rainbowed  shells;  fishes,  reptiles,  insects,  birds  and  beasts,  taking  specific 
style  and  character,  expressive  of  the  Three  Prime  Categories  of  Form,  and  giving  unique  style  and 
significance  to  their  nests,  homes,  etc. 

Then  man  the  highest  artist  of  them  all,  advances  in  intellectual  and  moral  beauty  through  barbaric 
to  civiilized  states,  both  of  association  and  art  expresssion,  strewing  the  highway  of  his  Heavenward 
climb  with  the  utensils,  weapons,  costumes,  dwellings  and  religious  symbols  corresponding  to  the  degree 
ot  perception,  inspiration  and  conceptive  power  attained. 

It  is  in  this  Realm  we  shall  find  Three  Prime  Relations  of  Will  which  seem  to  give  intent  and 
direction  to  Force,  at  the  Origin  of  Life  (see  Charts  XII  and  XXXVlll),  appear  steadily  operative  in 
giving  specific  style  to  Form — first  in  Three  Main  Categories  and  then  in  their  combinations  and 
derivatives.  These  Three  Main  characteristics  become  set,  on  higher  and  higher  planes,  into  physical  and 
racial  Types — strongly  marked  and  indicative  of  specific  Trends  (both  mental  and  moral)  which  again  set 
their  stamp  upon  the  thought,  ideals,  and  historic  functions  of  personal,  family,  and  national  life. 

become  types  of  brain  and  temperament  in  Personality  ; 


The  practically  Active 

The  passively  Amiable 

The  impressionably  Imaginative 


Where  in  family  relation  they  become 

Dominant  male  "  Fatherhood  " 
Receptive  female  "Motherhood  " 
Volatile  expansive  "Childhood'' 

And  in  social  aggregation  and  evolution  they  give  marked  peculiarity  to 
Northern,    1 

Southern,      ^  Civilizations,  by  racial  and  geographical  expansion. 
Oriental 

The  margins  of  influence  will,  of  course,  overlap  and  interlace  by  fusions,  marriages,  etc.,  but  a 
central  characteristic  will  prevail,  and  racial  types  remain  marked,  where  subordinate  branches  blend. 

National  Genius  will  reflect  this  degree  of  pure  or  composite  derivation,  in  the  characters  and 
qualities  of  its  energies  typically  forecast  in  the 


Relations  of  atoms  at  the  start  of  life. 


Competitive 
Cooperative 
and  Coordinative 

And  social,  religious  and  esthetic  ideals  will  correspondingly  vary  with  each  step,  that  prepares  our 
mind  for  the  later  amalgamations  that  modern  unity  and  democracy  is  effecting. 

External  forms  forever  change  to  internal  necessities.  Expanding  commerce  and  closer  interde- 
pendence creates  a  solidarity  and  "Brotherhood,"  adjusting  its  forms  to  ever  higher  and  subtler  propor- 
tions which  portray  in  stupendous  summary  the  outlines  of  Omnipotent  Design. 

In  the  poetic  lines  of  Emerson's  wood  notes  : 

"  If  thou  wouldst  know  the  mystic  song 
Chanted  when  the  sphere  was  young — 
'Tis  the  chronicle  of  Art  !     .     .     . 
Onward  and  on  The  Eternal  Pan 
Who  layeth  the  world's  incessant  plan, 
Halteth  never  in  one  shape. 
But  forever  doth  escape 
Like  waves  of  flame  into  New  Forms  !  " 

The  poetic  figures  of  remote  Hebraic  tradition  which  hand  down  Three  Great  Race  Migrations 
under  patrionimic  titles 

"Japhetic"  to  the  Northern  "  islands  of  the  Gentiles;  " 

"  Chamitic  "    "        Southern  "lands  of  Misraim,"  or  Africa  ; 

"  Shemitic  "     "        mountains  of  "  the  East,"  or  India; 

will  now  grow  intelligible  in  the  light  of  modern  data  and  comparison. 

We  are  obliged  to  recognize  with   President  Hill  that  the  very  beginning  of   Form  Reasoning  is  the 


"V/ 


intellectual  perception  that  the  motion  of  the  humblest  atom  through  space  records  Force  and  Volition. 
That  every  point  thus  becoming  a  line,  or  line  becoming  a  plane,  or  planes  composing  into  forms,  register 
Intellect  by  their  relations,  and  spiritual  Intent  by  their  functions.  They  are  vitally  "alive,"  from  centre 
to  circumference,  and  from  the  most  primary  to  the  most  composite  combination. 

But  the  astounding  revelation  grows  upon  us  as  we  study  Form,  that  highly  significant  and  sugges- 
tive tendencies  and  trends  in  Force  and  Form  (which  we  discover  in  earliest  relations  and  primitive  sym 
bols)  are  forever  reappearing  and  reasserting  themselves  with  marvelous  pregnancy  and  persistency  in  the 
higher  and  higher  concepts  of  human  Art. 

Thus  the  gifted  English  decorator  and  poet,  Walter  Crane,  very  truly  says  : 

"Pattern  in  its  simplest  form,  regarded  in  the  abstract,  is  a  series  of  modifications  in  the  structure 
and  correlation  of  Line.  Man  need  look  no  further  than  sun  and  sea  to  find  the  genesis  of  Pattern.  Nay, 
his  own  frame,  as  Vitruvius  shows,  comprises  or  is  comprised  in  both  Square  and  Circle.  These  may 
be  said  to  divide  the  responsibility  for  the  whole  race  of  Pattern  systems  between  them  as  a  kind  of  Coelus 
and  Terra.  These  are  suggestive,  too,  of  different  characteristics  of  race,  language  and  civilization. 
Broadly  speaking,  the  Square,  with  its  divided  checquers,  zigzags  and  diapers,  might  almost  stand  as  a 
symbol  of  the  ornaments  of  northern  nations,  associated  as  the  former  are  with  Scandinavian  and  Gothic 
pattern  work.  While  The  Circle,  with  its  derived  scrolls  and  spirals,  seems  figurative  of  the  greater 
suppleness  and  sensitiveness  to  beauty  of  the  southern.  And  it  is  to  ancient  Greece  and  Italy  we  must 
look  for  their  most  perfect  types.  Square  and  angular  patterns  strike  us  at  once  by  their  Emphasis  and 
Rigid  Logic,  while  circular  and  curvilinear  types  appeal  to  Rhythm  and  Grace." 

This  groping  of  a  true  art  instinct  was  bringing  him  directly  to  the  great  elements  which  we  have 
tried  to  arrange  and  define  somewhat  more  fully  and  systematically  in  this  book — when '•  sun  and  sea  " 
will  be  found  to  be  the  children,  not  parents  of  the  Square  and  Circle  ;  and  vvhere  also  the  Third  Great 
Prime  Relation  and  Type  Form,  The  Star,  will  be  located  in  its  right  connection,  and  given  its  full 
significance  and  resplendent  Beauty. 

It  was  probably  for  this  last  Relation  that  Mr  Crane  was  feeling  in  his  concluding  clause  where  he 
adds  :  "  For  Richness  and  Intricacy  we  must  go  —where  perhaps  Square  and  Circle  came  from — to  the 
home  of  the  Arabesque,  /.  e.,  to  the  East." 

Along  similar  intuitions  Prof.  Max  Miiller  must  have  been  moving  when  he  wrote  on  India  : 

"  As  in  nature  there  is  a  'North  and  South,'  so  there  may  be  two  hemispheres  in  human  nature,  both 
worth  developing ;  the  active,  combative  and  political,  on  one  side  ;  the  passive,  meditative  and  philo- 
sophical on  the  other.  The  Aryan,  whom  we  knew  as  Greek,  Roman,  German,  Celt,  Slav,  active  and 
political  in  northern  migrations,  we  find  passive  and  meditative  in  India.  A  real  natural  growth,  I 
h&lxQve,  having  hidden  purpose  and  lesson.  If  I  were  to  ask  myself  from  what  literature  we,  in  Europe 
may  draw  that  corrective  which  is  most  wanted  to  make  our  life  more  psrfect.  comprehensive,  universal 
more  truly  Human,  a  life  not  for  this  life,  but  a  Transfigured  Eternal  Life,  I  should  point  to  India." 

With  similar  point,  Lafcadio  Hearn  writes  : 

"  The  man  of  science  cannot  ignore  the  enormous  suggestions  of  the  new  story  the  Heavens  are 
telling!  He  finds  himself  compelled  to  regard  the  developments  of  what  we  call  '  Mind  '  as  a  general 
phase  in  the  ripening  of  planetary  life  throughout  the  universe.  The  Oriental  Mind  has  been  better 
prepared  than  the  Occidental  to  accept  this  tremendous  revelation — not  a  wisdom  that  increaseth  sorrow 
but  a  wisdom  to  quicken  Faith.  And  I  cannot  but  think  that  out  of  the  certain  Fvtttre  Union  of  Western 
Knowledge  with  Eastern  Thought  there  must  proceed  a  later"  (Faith)  ''inheriting  all  the  strength  of 
science,  yet  spiritually  able  to  recompense  the  seeker  after  Truth  with  the  recompense  foretold  in  The 
Diamond  Cutter,  'They  shall  be  endowed  with  the  Highest  Wonder.'  " 

Which  recalls  the  words  of  Coleridge  : 

•  "  In  wonder  all  philosophy  began,  in  wonder  it  ends,  and  admiration  fills  the  interspace  !     But  the 
first  is  the  wonder  of  ignorance  ;  the  last  is  the  parent  of  Adoration  !  " 

And  so  Prof.  Austin  Phelps  may  be  guided  by  the  same  "Star"  to  a  fuller  day  of  Truth,  in  his 
words : 

"  For  the  foundation  of  a  life  of  joy  in  communion  with  God,  we  need  more  of  the  spirit  of  the 
Vision  of  Patmos.  Our  northern  and  occidental  constitution  often  needs  to  be  restrained  from  excess  of 
phlegmatic  wisdom.  I  think  we  must  have  something  to  learn  from  the  impulsive  working  of  The 
Southern  and  The  Oriental  minds.  I  must  believe  it  was  not  without  a  wise  forecast  of  world  necessities 
and  insight  into  Human  Nature  All  Around  that  God  ordained  that  the  Bible,  which  contains  our  best 
models  of  sanctified  culture,  should  be  constructed  in  The  East,  where  emotional  natures  can  be  broken 
up  like  the  foundations  of  'The  Great  Deep.'  " 

To  be  more  accurate  and  full  in  the  comprehension  of  these  three  symbolic   Race  Trends   and 


Missions — we  should  say  that  the  competitive  energies  and  severe  practical  logic,  symbolized  by  the 
rectangular  Square,  have  been  most  felt  and  developed  by  those  Japhetic  people  which  spread  through 
northern  Europe  and  are  today  characterized  by  cold,  stern  downrightness,  business  logic  and  intellectual 
science,  as  well  as  military  energy  and  governmental  grasp. 

But  the  more  feminine  and  social  civilization,  with  plastic  and  mobile  temperament,  qualified  by 
"  Heart "  rather  than  "  Head,"  and  by  religious  rather  than  scientific  genius,  have  rightly  The  Circle  for 
symbol,  and  are  more  reflected  through  the  great  temple  building  branches  of  the  Second  (or  "Chamitic") 
Race,  which  expanded  so  centrally  over  Messopotamia,  Syria,  Egypt  andthe  Mediterranean  coasts,  crossing 
and  blending  their  margins  of  influence  in  Greece,  Italy,  Spain  and  southern  France  with  Japhetic  neigh- 
bors to  the  north — and  by  the  competition  of  war  and  peace  obtained  a  knowledge  of  each  otfier's  genius 
and  advantages. 

While  Eastward — over  Persia,  India  and  Asia,  radiated  the  influence  of  the  still  more  imaginative, 
volatile,  metaphysical,  poetic  and  artistic  Third  Race  Type  (•'  the  Shemitic  "),  whose  symbol  is  "  The  Star," 
and  from  which  the  Abramitic  (or  Hebraic)  Branch  was  ultimately  led  forth  to  estabish  "Faith  in  The 
Oneness  of  God.'' 

By  progressive  stages  of  revelation  and  realization,  this  last  Abramitic  family  seems  destined  to  collect, 
correlate  and  compose  "  into  One  "  the  severed  fragments  of  the  faiths,  missions  and  characteristic  beauty 
of  each  brother  race  ;  as  well  as  to  set  in  order  their  appropriate  developments  of  Truth. 

For  they  found  already  growing  to  their  north,  the  ethical  culture  and  social  character  typified  by 
The  Square,  .and  idealized  into  sacred  sagas  of  Odin,  Thor  and  the  Walhalla  of  militant  heroes  who 
among  the  very  glories  of  Heaven  must  forever  reassert  (by  death  and  resurrection  in  chivalric  battle)  the 
Beauty  of  Individual  Rectitude,  Truth,  Courage,  and  Masculine  Energy  implied  in  The  Square.  Of  these 
the  race  hero  Siegfried  must  ever  win  his  ideal  love  Brunehilda,  and  his  ideal  "  Hero  Heaven,"  against  the 
crude  and  chaotic  forces  of  untamed  forests,  dwarfed  and  cunning  men,  and  the  temptations  of  Gold,  till 
Spirit  rises  dominant  and  purified  "as  though  by  fire  !" 

On  the  other  hand,  to  the  south  and  southwest,  throughout  Egypt  and  its  tributaries,  etc.,  the 
Hebrews  ^rmgd  a  vast  and  patiently  prolonged  civilization,  where  human  intuition  and  reflection  had 
recognized  more  clearly  that  side  of  Deity  which  The  Circle  might  typify.  Here  God  was  not  felt  so 
strongly  (as  by  the  northerners),  in  His  character  of  Judge  and  Warrior,  but  rather  more  in  His  conde- 
scending and  self-sacrificing  patience  as  Intermediator,  where  through  long  centuries  (under  the  title  of 
"Osirus,"  and  the  symbol  of  the  patient  "Ox")  He  is  represented  as  stooping  Himself  to  draw  the 
burdened  chariot  of  Humanity  and  put  His  own  shoulder  beneath  the  yoke,  to  teach  submisssion  to  central 
Law.  Its  symbolic  "  horns  "  of  power  appear  derived  from  the  growing  "  Crescent  "  of  the  feminine 
moon,  and  the  perimetre  of  the  "  Sacred  Disk  "  (or  Circle). 

Here  Abram  was  to  find  this  conception  a  harbinger  and  prototype  of  "  The  Messiah  "  to  be  born 
from  his  own  seed  (in  the  person  of  the  coming  "Christ  "),  when  he  journeyed  from  Padan  Aram  south- 
ward with  Sarah,  his  "sister  and  wife."  Here  she  was  (symbolically)  to  be  acquired  by  the  Egyptian 
monarch  and  then  returned  to  him  unprofaned.  And  here  Joseph  and  Moses,  later,  are  mysteriously  to 
be  "subject  unto  "  it  till,  in  the  fulness  of  time  and  destiny,  the  Christ-child  Himself  was  to  be  conse- 
crated, that  the  prophesy  of  centuries  might  be  fulfilled  "out  of  Egypt  have  I  called  my  son."  For 
verily,  here,  long  centuries  of  discipline  had  not  only  developed  in  the  soul  of  man  the  ethical  conception 
and  character  of  enduring  Patience,  and  subordination  of  all  terrestial  life  to  the  hope  of  a  celestial,  but 
had  cast  this  into  sublime  art  symbols  and  resplendent  tombs  (far  more  elaborate  than  their  earthly 
homes).  And  here  in  the  providence  of  over-ruling  Soul,  Abram's  race  was  to  learn  the  great  lesson  of 
The  Circle,  that  "  Here  have  we  no  continuing  city,  but  we  seek  one  to  come  even  an  heavenly";  and 
"  by  patient  continuing  in  well  doing,  to  seek  for  glory,  honor,  immortality,  eternal  Life!" 

Lastly,  in  their  own  promised  land  of  Canaan,  and  at  the  mystic  Christmas  tide  of  the  Messiah's 
advent,  they  were  to  absorb  the  last  and  sublimest  symbolic  lesson  of  all — the  lesson  of  "The  Magi,"  the 
wisdom  of  "  The  East  "  and  the  sacred  "Star"  of  Heaven!  That  the  soul  of  Humanity  muet  also 
be  guided  in  its  sacred  discovery  and  worship,  by  the  deep  and  pure  light  of  refined  metaphysics,  delicate 
deduction,  subtle  implications  of  planetary  movement,  the  breathing  of  God's  voice  in  the  mulberry  leaves, 
the  divining  of  the  inspiration  of  sensitive  Spirit  throughout  All  Nature  I  Herein  they  were  to  catch 
up  the  revelation  of  that  Third  Great  ("Oriental")  Trend  of  cosmic  thought  and  experience,  which 
had  subordinated  all  existence  (heavenly  or  earthly)  unto  God  in  a  devout  "Pantheism";  and  by  the 
"absorbtion"  of  all  spirit  finally  "into  Universal  Brahm."  Under  the  royal  type  of  "Rama  "  it  had  also 
generated  and  fixed  its  "  ideal  hero "  as  that  nobility  of  character  which  hides  its  very  royalty,  and 
sacrifices  pride,  position,  power  and  wealth  in  humblest  services  toward  suffering  fellowmen.  And,  as 
it  were,  again  we  see  divinely  antetyped  that  sacred  significant  theme  of  "  the  Christ  washing  the 
disciples'  feet." 

It  was  these  three  sublime  ethical  intuitions  of  Truth  which  had  been  forecast  throughout  all 
morphology,  biology,  and  sociology  in  the  advance  of  animal  life  and  human  conscience,  that  "  Faithful 


Abram  "  and  his  children  were  to  unify  and  crystalize — and  which  were  to  render  their  ethics  so  vital  and 
pervasive  by  their  revering  : 

j   ist,  The  Beauty  of  The  Square — in  Truth,  Law  and  Judgment  (under  Moses), 
-J  2d,      "         "  The   Circle — in  Love  and   Self-Submission  (through  Christ), 

j  3d,      "         "  The  Star — in  Grace,  Genius,  Personal  Inspiration, 

(by  Pentacostal  showers  of  The  Divine  Spirit,  through  that  radiate  dissemination  of  apostles,  martyrs, 
saints,  heroes  of  all  ages,  down  to  "  The  Latter  Day  "  when  it  was  promised  that  by  a  new  outpouring  from 
on  high—"  Your  young  men  shall  see  visions,  your  old  men  shall  dream  dreams  "). 

For  to  the  end  of  life,  each  soul  finds  written  within  its  being  the  absolute  necessity  of  experiencing 
and  re  expressing  (in  right  Proportion  and  Harmony  to  time,  place,  and  service).  The  Three  Foundation 
Elements  (of  Law,  Love,  and  Grace),  which  seem  inherent  in  the  nature  of  Deity,  as  they  are  the  primary 
Keys  to  the  Constructive  Relations  of  Form  and  to  the  significant  character  of  Beauty. 

The  old  world  was  the  scene,  for  ages,  of  the  competitions  and  rivalries  of  these  separated  elements 
in  racial  evolution,  while  yet  each  segment  was  under  the  necessity,  so  to  speak,  of  developing  and 
assuming  its  own  fractional  truth  and  genius  before  comprehending  and  correlating  with  its  brothers. 

But  Christianity  in  its  marvelous  growth  and  example  seems  to  have  prepared  a  soil,  in  broad 
ethical  Unity,  for  their  ultimate  amalgamation  ;  and  by  collateral  agencies  in  crusades,  missions,  com- 
mercial association,  etc.,  to  have  assured  their  commingling,  as  by  the  heroism  of  Columbus  and  zeal  of 
religious  colonization  it  outran  destiny  and  opened  a  new  world  for  their  combined  association. 

The  northern  (Japhetic)  elements  of  The  vSquare,  by  Norse,  Teutonic,  Saxton,  and  Celtic  derivatives, 
were  borne  across  to  appropriate  habitat  and  climate  in  North  America.  The  southern,  milder  and 
more  "Chamitic"  derivatives  of  the  Mediterranean  coasts,  were  swept  over  into  Central  and  Southern 
America.  While  across  the  Pacific  and  radiating  through  her  myriad  isles  come  the  children  of  The  Third 
Great  (Oriental)  Phase  of  civilization,  pouring  into  The  Golden  Gate  ! 

The  circuit  of  the  globe  has  been  completed  by  the  linking  of  its  segments — each  section  bringing, 
to  the  commonweal  of  Human  Brotherhood,  the  characteristic  elements  either  of  "  Saxon  sense  with 
Teutonic  stability";  or  Latin  "religious  enthusiasm  and  sociability  ";  or  Oriental  "  Imagination,  Art,  and 
Industrial  skill  "!  While  the  freedom  of  thought,  aspiration,  and  government  in  the  new  world,  facilitates 
and  necessitates  the  new  cohesion  ;  reacts  upon  the  old  world  by  example,  emulation  and  international 
exhibitions;  and  Providential  interposition  pushes  the  bands  of  conquest  and  commerce  (as  in  the  late 
annexations  of  Hawaii  and  Manilla)  into  a  broad  Unity  which  will  perfect  The  Whole  ! 

Prof.  Fenellosa,  writing  of  this  juncture  of  America  with  the  Orient,  and  ot  the  prospective  alliance 
of  the  Great  Republic  with  the  best  and  most  progressive  spirit  of  the  Orient,  says : 

"  Our  lot  is  thrown  in  with  the  Eastern  world,  for  good  or  ill,  forever  !  For  this  fusion  is  not  only 
to  be  world  wide  hni  final  /  Each  absorbes  the  power  and  hope  of  a  hemisphere.  Such  as  we  make  it 
now  it  must  remain  !     This  is  man's  final  experiment !" 

It  was  "westward"  from  his  oriental  race  that  Abram  started  "  in  faith  "  at  the  "  call  of  God  "  to  go 
"not  knowing  whither,"  but  a  "child  of  promise."  And  westward  ever,  in  the  footsteps  of  his  ethics, 
"the  star  of  (highest)  empire  takes  its  way,"  till  in  the  symbol  of  "the  wandering  Jew,"  the  journey  is 
nigh  complete  and  the  pilgrimage  ended  !     The  Japanese  poet  would  add  : 

"  Son,  the  world  is  full  of  Beauty  !  There  may  be  gardens  more  beautiful  than  these — but  the  fair- 
est of  gardens  is  not  in  this  world — it  is  in  the  Garden  of  Amida  (God),  in  the  Paradise  of  The  West." 

These  great  historic  evolutions  have  left  art  monuments  of  inestimable  significance  and  value,  all 
along  their  course,  and  have  reflected  their  internal  character  and  stages  of  growth  through  their  external 
physiognomies  and  art  environments,  as  truly  as  a  mollusk  does  by  its  shell.  (See  Charts  XXXVIII.  and 
XXXIX.) 

Distinctions  in  nature,  color,  costume,  taste  and  general  being,  still  remain  more  or  less  indicative 
of  primal  type  and  temperamental  difference.  The  "  Northerner  "  being  liable  to  develop  more  tall,  bony, 
angular  proportions  and  with  more  rigid  costume  lines  and  sombre  colors,  characteristic  of  a  more  stern, 
introverted,  calculating,  solemn  (at  times  melancholy)  temperament.  Practical,  scientific,  militant,  gov- 
ernmental, "  square-shouldered,"  "long-headed,"  "far-sighted,"  "blue-eyed,"  worshiping  "  The  Future," 
and  given  to  the  arts  of  war,  mechanics,  transportation,  engineering,  &c. 

The  second,  or  "  Southern  "  type,  is  more  plastic,  polite,  tactful,  diplomatic,  social,  genial,  and  of 
generous  impulses  (perhaps,  of  effeminate  tendency),  characterized  by  rounder  forms,  easier  costume  lines 
and  warmer  glow  of  skin  and  eyes.  Given  to  the  arts  of  religion,  civil  policy,  society,  amenity,  diplomacy, 
display.     And  greatly  cherishing  the  amiabilities  of  The  Present. 

The  third,  or  "  Eastern  "  type,  is  lighter,  more  delicate  and  sensitive  than  all,  more  naturalistic  and 
complex  like  Nature  herself,  more  volatile,  subtile,  metaphysical,  poetic,  imaginative,  artistic  ;  marvelously 


diverse  and  dexterous  in  tasteful  industrial  skill.     Sunny,  childlike,  and  rich  in  costume,  color  and  move- 
ment, worshipful  of  Omnipresent  Spirit,  reverential  of  "The  Past." 

While  fourth  and  last,  the  remote  (Abramitic)  branch  ot  this  great  Family  is  divinely  driven  to  the 
four  corners  of  earth,  to  become  at  once  the  most  diffusive  and  cohesive,  the  most  cosmic  yet  the  most 
tribal,  the  most  broken  yet  the  most  absorbtive,  adaptive  and  retentive,  of  all  social  organisms  and  nation- 
alties,  to  "gather  into  One  All  the  Family  of  God." 

We  ought  here  to  note,  that  just  as  each  wholesome  Personality  recognizes  in  itself  a  union  of  Dual 
Elements  (spiritual  and  material),  a  side  on  which  each  soul  is  individually  itself,  yet  another  side  on 
which  it  is  the  product  of  society,  so  each  race  has  at  times  seemed  conscious  of  its  own  race  genius  being 
somehow  correlated  to  the  others,  by  mutual  and  complementary  necessities,  which  only  time  and  civiliza- 
tion could  make  clear. 

They  seemed  subject  to  a  first  law  of  Competition  (which  should  be  sufficiently  strenuous  to  preserve 
Individuality),  yet  drawn  by  time  and  world  evolution  into  a  cosmic  Cooperation  and  Coordination, 
which  should  at  last  guarantee  the  larger  whole. 

Nature  was  forever  whispering  the  secret  of  her  primordeal  "  Activity  "  and  "  Passivity,"  her  "  Patern- 
ity "  and  "  Maternity,"  her  "  Irrittativeness  "  and  '•  Receptiveness,"  in  day  and  night,  seed  time  and  harvest, 
summer  and  winter.  They  witnessed  her  acts  and  arts  consummating  this  mystic  marriage — and  as  well 
the  arts  of  animal  life  below  man.  They  soon  conjured  poetic  figures,  in  mythological  terms,  to  convey 
this  perception  of  Divine  Principle,  and  we  have  the  symbolic  rites  of  "Coelus  and  Terra,"  "Orpheus  and 
Euridice,"  "  Adonis  and  Cytherea,"  &c.  In  time  they  detect  that  human  arts,  in  order  to  impress  the  brain 
as  "  Beautiful,"  must  embody  analogous  Relations,  in  "  closed  "  and  "  open  "  spaces,  "  quiet  "  elements  con- 
trasting with  "active"  in  the  composition,  shadows  with  lights,  cool  with  warm  colors,  &c.,  creating 
rhythmic  cadences  and  equilibriums  in  which  life  pulsation  itself  is  based.  The  brain  being  so  constituted 
as  to  require  for  its  delight  in  Art,  reechoes  and  revivals  of  what  has  given  it  pleasure  (and  existence  itself) 
in  Nature,  i  e.,  Conditions  of  Form,  Feeling  and  Fancy  akin  to  those  of  The  Creator  of  Nature,  and  to  the 
Principles  and  Methods  involved  in  His  taste  and  invention.  Hence  sprang  a  whole  category  of  Arts, 
ranging  up  and  down  a  scale  like  "Jacob's  ladder,"  connecting  Earth  with  Heaven,  in  various  proportions 
of  material  or  mental,  terrestrial  or  celestial  elements  and  utilities  involved.  Thus  creating,  so  to  speak, 
"  minor  "  or  "  major  "  Arts  ;  i.e.,  those  more  materially  utilitarian  and  technical,  or  those  more  phonetically 
expressive  and  spiritual,  and  there  are  those  between  these  two  extremes,  where  as  at  Bunyan's  "  House  of 
The  Kind  Interpreter"  man  finds  a  middle  "  Beulah  Land,"  where  angel  "sons  of  God"  may  again  "wed 
the  daughters  of  men"  in  a  vital  "  Artist-Artisanship." 

Accordingly  we  mount  by  gradation,  from  arts  like  engineering,  practical  chemistry  and  navigation 
(where  man  is  concerned  to  devise  forms  for  transmitting  force  "with  least  resistance,"  rather  than  with 
"most  taste"),  up  through  the  arts  of  agriculture,  cooking,  building,  furniture,  weaving,  dressing  and  jewelry 
(where  direct  utility  to  the  body,  or  beauty  of  mere  material,  associates  with  utility  to  spirit  and  demands 
on  artistic  feeling),  up  to  those  that  make  dominant  the  esthetic  influence  (such  as  Pure  Ceramics,  Higher 
Architecture,  Dramatic  Gesture  and  The  Dance),  to  finally  those  generated  solely  for  Expression  of  esthetic 
genius  and  principles  (such  as  Floriculture,  Decoration,  Sculpture,  Painting,  Music,  Poetry  and  Eloquence), 
until  we  reach  the  very  art  of  Life  Itself  ! 

Among  the  strictly  formal  arts  of  Architecture,  Sculpture  and  Painting  (to  which  the  term  of  "Art" 
is  popularly  confined,)  we  note  the  same  Three  Prime  Characteristics  (from  primitive  relations  of  force 
and  form)  reassert  themselves  ;  Architecture  being  the  most  "squarely"  rectangular,  rigorous  and  struct- 
ural, employing  hardy  lines  and  materials  of  support.  While  sculpture  grows  more  plastic  in  substance, 
motives  and  movements  (the  ceramic  arts  spi^ining  upon  the  potter's  wheel  or  Circle).  But  Painting 
becomes  the  greatest,  lightest  and  most  varied  of  all,  its  comprehensive  range  least  embarrassed  by  mate- 
rial, and  conveying  not  only  optical  presentations  of  its  preceding  sisters,  but  wholly  ideal  conceptions  and 
situations  the  most  elaborate  and  complex  (after  the  symbol  of  the  Star). 

We  may  close  this  chapter  by  remarking  that  in  this  last  great  art  of  Painting,  and  in  that  Italian 
nationality  where  hitherto  it  is  most  triumphant,  there  have  appeared,  historically,  again  Three  Supreme 
Leaders  of  Genius  personifying  the  same  mysterious  distinctions  of  primal  tendency  and  inspiration,  as 
well  as  bearing  charteristic  names  in  striking  coincidence  with  the  Three  Archangel  types  of  Revelation 
(i.e.,  "  Michael,"  of  militant  offices  ;  "  Raphael,"  of  religious  ;  and  "  Gabriel,"  ot  civil  offices).  These  giant 
leaders  were  Michael  Angelo,  whose  rigorous  genius  mounts  preeminent  for  titanic  energy,  structural 
severity  of  form  and  grandure  of  lines  (Moses,  the  "Law"  giver,  his  typical  carving,  "The  Last  Judg- 
ment," his  typical  painting).  Next,  Raphael  Sanzio,  the  gentle,  amiable  and  "beloved  disciple"  of 
religious  feeling  and  of  the  heart,  feminine  in  type  and  temperament,  and  prolific  in  holy  Madonnas 
curving  their  plastic  forms  over  curvilineal  canvases. 

Thirdly,  Gabriel  Rossetti,  "  poet-painter,  of  whom  the  critic  Colvin  says,  "  though  born  in  the 
midst  of  the  nineteenth  century,  he  belonged  by  nature  to  the  Middle  Age,  when  color  and  life  were  most 
vivid  and  varied,  and  sense   of  supernatural   agencies  most  alive."    An  Italian  born  out  of  his  age  and 


country  to  convey  to  our  expanding  Saxon  civilization  the  lesson  and  inspiration  of  the  Great  Renaissance. 
By  the  creation  of  a  new  Art  "Brotherhood"  along  vital  h'nes  and  organic  priciples  he  summoned  the 
slumbering  genius  of  a  new  evolution  from  the  springs  of  national  and  personal  resource,  unto  all  the 
radiate  intricacies  and  possibilities  of  modern  poetry,  beauty  and  industry,  combined. 

In  him  not  only  Great  Britain  took  her  highest  and  purest  art  impulse  out  of  her  own  Arthurian 
legends  and  poets  (through  the  zeal  of  his  strong  young  allies,  Morris,  Watts,  Millais,  Madoc  Brown,  Burne 
Jones,  &c.),  but  he  lit  the  torch  of  genius  for  the  keenest  and  farthest  sighted  poet-artists  and  artist- 
artisans  of  America. 

His  friend  Hall  Caine  tells  us  that  early  in  life  Rossetti  was  deeply  impressed  by  our  Edgar  Poe's 
literary  picture  in  "The  Raven,"  of  an  earthly  soul  seeking  its  heavenly  counterpart.  Thereupon  Rossetti 
determined  to  write  his  own  poem  of  "The  Blessed  Demozel"  to  portray  the  Heavenly  Spirit  looking 
downward  for  its  terrestrial  partner.  In  this  symbolic  sense,  the  two  halves  of  a  great  thought  (of  ideal 
and  material  components),  as  well  as  two  halves  of  our  Saxon  civilization,  may  be  harmoniously  com- 
bining to  effect  a  great  destiny,  as  esthetic  as  it  is  ethical  and  political.  The  old  world  poetry  should 
bring  forward  a  wealth  of  spiritual  experience  and  inspiration,  and  the  new  world's  energy,  virility  and 
resource  must  recast  and  reincorporate  the  The  Best  into  millions  of  democratic  realizations. 

Says  one  eminent  critic  :  "  Rossetti's  reputation  long  stood  high,  yet  few  could  explain  the  secret. 
Friends,  disciples,  admirers  spoke  of  '  the  master  '  with  reverent  awe.  It  is  impossible  not  to  respect  a  man 
who,  in  these  days  of  insincerity,  believes  in  something  heartily,  continues  to  believe  in  it  and  himself 
all  life  long  !  Perhaps  more  than  respect  is  due  the  man  who  resolutely  held  aloof  (from  a  world  which 
fancies  itself  lawgiver  to  every  man  in  or  out  of  it),  as  did  Gabriel  Rossetti."  Beautifully  and  tenderly 
Rossetti  expounds  the  true  ambition  of  modern  life,  as  it  should  be,  alike  in  art,  religion  or  society. 
"  Plainly  to  think  even  a  little  thought — to  express  it  in  natural  words  native  to  the  speaker — to  paint  even 
an  insignificant  object  as  it  essentially  is — to  persevere  in  looking  at  Truth,  and  Nature."  Is  not  this  the 
"angel  of  civil  things,"  the  modern  evangel  of  the  simplest  life  of  the  humblest  soul  ? 

Jean  Francois  Millet,  in  France,  had  lived  these  truths  mutely  and  pathetically  in  the  farm  of  Fon- 
tainbleau.  Gabriel  Rossetti  formulated  the  principles  and  transmitted  them.  The  words  of  Burne  Jones 
himself,  speaking  of  his  master,  best  summarizes  for  us  this  "Sacra  Flamma":  "One  day  Morris  and  I 
discovered  that  we  were  face  to  face  with  something  new  and  wonderful !  It  was  the  opening  of  the  First 
Seal  for  each  of  us  !  It  was  Rossetti  the  Poet  who  was  so  new  and  strange  a  painter,  and  the  painter  who 
wrote  poetry  with  so  rare  and  strange  a  note,  who  appealed  to  us  the  most.  But  we  felt  the  Charm,  the 
Originality,  the  novel  Creative  Spirit  of  each  of  these  men  (Rossetti,  Millais,  Hunt),  and  perhaps  more 
than  all  The  Spirit  common  to  them  all — in  them,  but  yet  beyond  them — the  wonderful,  fresh,  recreative 

SPIRIT     OF    A     NEW     DAY! " 

CONDENSATION. 

A  summary  of  the  thought  of  our  book  might  here  be  appropriate,  with  a  few  of  the  old  masters' 
illustrations,  compacting  the  fuller  lessons  or  professional  steps  that  follow,  since  they  apply  univer- 
sally to  all  lives,  intellects  or  activities. 

Law  is  the  expression  of  Intelligence  and  Will.  All  Space  is  Alive  with  Law,  i.e.,  with  Spir- 
itual Life.     As  Man  occupies  part  of  space  he  is  Part  of  Spirit,  as  he  is  part  of  matter. 

All  Forms  can  be  reduced  to  planes,  planes  to  lines,  and  lines  to  Points.  A  line  is  correctly  con- 
sidered as  a  Point  in  Motion,  and  a  point  enables  us  to  Gauge  and  Measure  the  motion,  according  to 
Directions  and  Positions  assumed,  as  a  sort  of  fulcrum  to  Express  Power  (exactly  as  our  pen  point 
expresses  our  thought  by  its  motion  and  its  record  of  ink-atoms). 

Thus  Universal  Life  is  at  once  Reposeful  and  Active,  ("Static"  and  "dynamic,"  and  though  what 
we  term  '•  matter "  may  be  in  some  way  a  passive  form  of  vSpirit,  and  though  No  Atoms  of  Matter 
Touch,  yet  we  know  Spirit  from  Matter  by  Spirit's  Power  to  Move  Matter. 

Hence,  all  Nature  is  Spiritually  Alive  and  all  Natural  Forms  are  Spiritual  Poems,  to  be  read  by 
a  Spiritual  Key  Alone.  This  we  quickly  see  on  crushing  a  rose  to  powder  in  our  hand.  We  have  then 
left,  the  same  quantity  of  dust,  but  no  "rose  "  !  The  Rose  was  the  spiritual  properties  between  the  dust 
atoms,  expressed  spiritually  and  appealing  to  our  spirits,  through  the  agency  of  the  arranged  atoms.  Divine 
Intelligence  had  revealed  His  thought  and  feeling,  to  our  thought  and  feeling,  through  the  arranged  Rela- 
tions of  the  rose  particles  (that  man  disarranged  and  so  lost). 

Our  intelligence,  reason,  volition,  feeling  must,  in  some  mysterious  way  be  part  of  Goo's,  and  the 
delight  we  feel  in  Beauty  must  be  part  of  His  delight  in  Beauty.  Our  disgust  at  ugliness  must  be  part  of 
His  disgust  at  ugliness.  The  Principles  that  are  manifested  back  of  Beauty  must  be  spiritually  absorbed 
and  reapplied  by  each  soul,  to  put  itself  in  harmony  with  that  element  in  God,  and  to  perfect  its  own  har- 
mony and  happiness,  or  to  create  a  true  social  and  individual  life. 


Beaui  Y  is  the  manifestation  of  Perfect  Law,  according  to  appropriate  conditions  of  time,  place, 
circumstances,  utility  and  wisdom  in  this  adaptation  of  materials  to  ideals.  The  Divine  thoughts,  feelings 
and  ideals  are  taking  harmonic  expression  in  nature  and  man.  Those  of  man  are  taking  more  or  less  har- 
monic expression  in  art,  according  as  man  reechoes  Divine  Principles. 

The  material  elements  are  not  so  important  as  the  spiritual.  Michael  Angelo  was  the  same  grand 
creative  spirit  when  carving  his  statues,  painting  his  frescoes,  writing  his  poems,  erecting  his  cathedral 
domes  or  Florentine  fortifications. 

So  God  is  as  present  a  "Poet-Artist  "  in  the  relations  which  constitute  the  lily  as  the  rose,  the  night- 
ingale as  the  bird  of  paradise. 

All  forms  in  nature  are  alive  with  the  Creator's  ideals  and  full  of  useful,  decorative  or  symbolic  sig- 
nification. It  would  seem  that  by  some  vast  symbolic  significance  the  Three  Great  Type  Relations  of 
Force,  in  Competition,  Cooperation  and  Coordination,  have  generated  the  Three  Prime  Forms,  The  Square, 
The  Circle  and  The  Star,  from  which  all  others  are  derived  (as  shown  in  Lesson  XII. ).  They  are  sig- 
nificant of  energies  and  characteristics  in  The  Divine  Nature,  and  symbolic  of  moral  qualities  which  we 
discover  rooted  in  the  best  Human  Nature,  and  which  we  designate  as  the  Sense  of 

ist.     Right,  Rectitude,  and  its  resistive  tx\^r%\&^  (in  the  square). 

2d.     Condescending  Kindness  and  \\.&  plastic  energies  (in  the  circle). 

3d.     Generosity  and  Inspiring  Genius  in  the  diffiisive  energies  (of  the  star). 

While  each  of  these  elements  is  held  to  central  Harmony  of  Formal  Expression  (whether  singly  or 
together)  by  the  Principles  of  Unity,  Equilibrium,  and  Proportion.  Indeed  they  seem  but  a  numeric 
and  formal  advance  of  the  Initiative  and  Creative  Force,  through  the  sequent  changes  of  unfolding 
Ideal. 

Law,  Love  and  Grace  reign  at  the  centre  of  the  Universe  !  They  advance  by  "right  lined"  resist- 
ance, "  curved  line  "  condescension,  and  "  radiate  "  generosity  as  the  Divine  Energy  unfolds,  in  strict 
"  Proportion  and  Balance  and  Harmony."  All  Natural  forms  express  these  phases,  derivations  and  combina- 
tions, and  gain  style  and  individuality  by  special  fitnesses  to  time  and  puropose.  Human  Arts  receive  and 
reflect  these  intuitions,  and  gain  charm  and  vitality  (or  ugliness  and  decay)  by  their  organic  (or  inorganic) 
adaptation  of  these  fundamental  relations  to  Structure,  Form  and  Composition.  Beauty  is  the  sensation 
that  the  soul  receives  at  perfect  and  harmonic  adjustment  of  these,  to  any  given  time,  place,  purpose,  and 
material.  And  all  forms  (natural  or  human)  only  convey  this  perfectly  when  truly  organic — that  is, 
"ptriecXXy  ha.vmomc  zvithin  and  ivithout — alike  in  the  internal  structure  (we  term  "Scientific")  and  the 
^;r/^r«rt/ fascination  or  attractiveness  (we  term  "Artistic"),  in  reality,  the  w//^/^' is  scientific  and  artistic 
together.  The  devout,  loving  and  useful  application  of  these  elements  and  principles  in  serviceable  union, 
for  human  amelioration  or  for  divine  adoration,  is  essential  Religion,  (far  above  pettiness  of  cant,  creed  or 
sect). 

In  this  grand  sense  "  Laborare  est  Orare  " — To  labor  is  to  pray. 

Toward  this  far-reaching  intuition  the  ages  steadily  advance,  and  the  unfoldings  of  race  movement 
approach,  leaving  their  several  degrees  of  approximation  for  history  and  divine  judgment. 

Our  educational  methods  should  take  this  vital  lesson  from  Nature,  and  educate  the  souls  of  students 
in  Essential  Beauty  (internally  and  externally  correlated  as  the  term  "  Artist-Artisan "  implies),  and 
associate  Hand,  Head,  and  Heart  in  a  vital  union.  It  should  be  both  educational  and  practical — because 
the  best  education  and  the  best  "  practicality  "  comes  from  this  Organic  Union  of  soul  and  body,  of 
thought  and  deed,  of  Conception  and  of  Execution,  which  is  the  tangible  idea  of  God. 

We  should  not  murder  the  souls  of  the  young  by  dead  and  sterilizing  methods  or  "copy  book  "  sys-. 
tems,  of  external  unintelligent  mimicry  that  degrades  them  to  monkeys  instead  of  raising  them  to  men. 
We  should  appeal  to  the  God  Spirit  within  each  human  soul,  and  fortify  and  develop  it  by  the  living  and 
inspiring  principles  of  Beauty,  adapted  to  every  material.  Originality,  Ideality,  Order,  Proportion, 
Balance,  Harmony,  &c.,  are  parts  of  God's  Spirit  and  applicable  to  all  times,  places  and  substances. 
Each  age,  nationality  and  individuality  are  to  be  reinspired,  readjusted  and  restored  by  them,  according  to 
new  needs,  conditions  and  obligations.  New  opportunities  are  thereby  utilized  and  new  virilities  begotten. 
All  of  which  adds  new  interest,  delight  and  value  to  human  industry,  expre:>sion  and  society,  and  prepares 
man  better  for  eternity.  Nature  thereby  becomes  the  ''  friend  of  man  "  and  full  of  wholesome  delight  and 
instruction  according  to  first  intentions  as  the  "  visible  Studio  of  God."  She  stands  ready  to  reveal,  anew, 
to  every  age  and  soul,  the  Beauty  of  Design,  the  secrets  of  constructive  growth,  and  the  wise  methods  of 
adaptation  to  all  matter.  All  materials  may  thus  become  eloquent  of  spiritual  beauty  (instead  of  ugliness.) 
And  all  industrial  or  social  prosperity  becomes  enhanced  by  the  happy  correlation  of  Good  Science,  Good 
Religion  and  Good  Art.  Indeed  the  Beauty  of  all  Form  or  Feeling  becomes  the  harmonious  adjustment 
and  proportioned  expression  of  these  symbolic  significances  of  Right,  Round  and  Radiate  Relations, 
according  to  fitness  in  Eternal  Principles. 

A  few  brilliant  and  wonderful  drawings  of  the  greatest  art  masters,  here  inserted,  will  help  to  illustrate 
these  truths.     Thus  Da  Vinci  shows  how  man's  form   when  radiated  STAR-like  across  the  Square  and 


Circle  (in  the  measures  of  the  finest  Greek  proportions)  reveals  the  secret,  that  The  Square  is  the  basis  of 
man's  strength  in  reposeful  rectitude  but  initial  energy.  The  Circle  is  the  basis  of  his  second  (or  "  female  ") 
phase  of  transmitted  energy  in  plastic  action.  The  Square  is  energy  crystalline  and  "  static  "  ;  the  Circle 
is  energy  mobile  and  "dynamic."  The  Centrex)f  the  Square  is  at  the  centre  of  "male"  generation.  The 
centre  of  the  Circle  is  at  the  navel,  where  the  child's  link  to  motherhood  is  severed,  to  be  born  a  free  and 
new  soul.  Thus  every  human  form  combines  and  harmonizes,  in  its  being,  the  secret  strength  and  beauty 
of  Square,  Circle  and  Star  when  the  rectitudes  of  Truth  are  wedded  to  the  plastic  and  receptive 
energies  of  Love,  and  born  anew  by  Genius  into  the  radiate  brilliancy  of  diverse  and  organic  applications, 
with  Just  Proportion  of  these  elements.  It  was  exactly  so  at  Pentecost  that  the  Holy  Spirit  showed  to 
each  man  through  his  own  language  both  the  Motherhood  of  God's  Nature  in  Love,  and  the  Fatherhood 
of  God's  Nature  in  Truth  and  Law.  Short  of  these  "Perfect  Proportions  "  there  must  ever  be  a  sense  of 
deficiency  and  ugliness  a  fact  which  throws  light  upon  the  apostolic  injunction  to  attain  "  the  stature  of  The 
Christ  in  whom  dwelleth  the  Fullness"  {t.  e.,  Perfect  Proportion)  "of  The  Godhead,  bodily."  The  God- 
head made  Perfect  Man — yet  ever  appropriately  readapting  divine  Principles  to  any  and  every  Wfw  situa- 
tion of  life,  according  as  time  purpose,  place  and  utility  requires. 

Next,  Michael  Angelo  shows  in  "  Fortune  upon  the  Wheel  "  (or  Female  Beauty  balanced  wpon  the 
Circle)  the  great  principle  of  Equilibrium  and  Vital  Symmetry  so  universally  constant  throughout  nature, 
as  "balancing"  Life  and  Nature  upon  the  dualism  of  Repose  and  Action,  and  qualifying  the  opposite  sides 
and  steps  of  man.  He  shows  also  that  while  mechanical  drawing  will  do  for  subordinate  mechanical 
forms,  such  as  the  Wheel,  yet  vital  and  organic  drawitig  must  be  applied  to  the  higher  organic  forms .  Thus 
Da  Vinci's  childhead  shows  him  looking  through  the  curls  for  the  structural  skull  that  first  supports  them. 
Raphael's  soldier  with  the  shield  shows  him  searching  through  the  shield,  and  defining  carefully  the  human 
arm  that  supports  it,  and  we  can  even  see  in  the  drawing  of  the  "  Father  and  Demoniac  Child  "  (from  the 
picture  of  "  The  Transfiguration  ")  the  indication  of  the  rear  thigh  seen  through  the  front  thigh  of  the  father. 
Showing  how  carefully  they  followed  the  principle  of  Sequence  in  the  order  or  stages  oi  procedure,  develop- 
ing/>(?;«  zvithin  outward  and  from  behind  forwards.  They  do  not  flatten  forms  nor  mimic  them  blindly 
and  externally,  as  do  the  wretched  ••  Blocking  Systems  "  exploited  in  so  many  schools,  but  comprehend 
internally  so  as  to  interpret  them  solidly  and  organically,  as  several  of  the  other  drawings  by  Durer,  Angelo, 
etc.,  well  show. 

The  Two  Female  Heads  in  opposition,  by  Poccacino,  display  not  only  the  artistic  principle  of  "Con- 
trast," but  set  off  Beauty  against  ugliness,  to  show  that  though  both  heads  are  "  alive  "  "organic  "  and 
"structurally"  developed,  yet  the  hag  has  violated  Principles,  which  the  maiden  preserved,  ?.  ^.,  such, 
Order,  Proportion,  Balance,  Harmonic  arrangement,  etc.,  as  God  established  in  His  elements,  intents, 
and  processes  to  reveal  to  man  the  Immortal  Principles  of  His  Spirit. 

JOHN  WARD  STIMSON. 


HEAD  OF  A  CHILD. 

From  a  Drawing, in  the  Louvre.    By  Leonardo. 


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